If you’re not already familiar with Faith Sponsler’s prints – you’re about to be. Inspired by the classic work of Alphonse Mucha, Faith creates beautiful images of Phish songs just for fans. Her clever and beautifully executed prints are available through Etsy, although you’ll have to find her on tour to get yours this week! Gorge anyone!?!
Her latest work features and ode to Tela in an 11″ by 17″ print. Each printed on high quality cardstock.
Also available as a pair – Fuego and Winterqueen. Each print is 5″ by 8″ allowing the set to pair perfectly in an 8″ by 10″ frame.
We’ve got it Simple folks cuz’ we are the Phans. Share your joy for this wonderful season of Phish with Scott Hillburn’s clever take on the Bernie Sanders logo now available on his new Simple Summer Tour 2016 T-Shirt. Tour is zipping by so don’t wait and there are a limited few left -Look for yours on lot!
The show features White Light Foundation, The Phactory, The Shakedown Shop, Burns Designs Art by Joshua Letourneau, Pin Me Down, YEMshades, Dirty Birdz Goods, JEMagination, Sneaky Pig Productions, The Eden’s Rose Foundation and many more!
Holly Bowling will be performing in Nectar’s during the day on Saturday, with her Grateful Dead and Phish piano interpretations serving as the soundtrack to the show.
The first PhanArt show on the West Coast, a San PhranArt Show will be held at Mezzanine, a few blocks away from Bill Graham Arena. This show will be held on July 19th from 12-5pm and will feature more than 20 artists and vendors exhibiting a wide variety of unique and Phish inspired creations.
The doors open at 12PM with free admissions and tubes for sale.Featuring the art of The Art of Ryan Kerrigan, Super Rad Cape Co., TRiPPs Prints, Isadora Bullock, The Mockingbird Foundation, Ant Pharms Tour Pins and Designs, Fred Sutter, Level 42, Drivenpunk Glass and many more!
In preparation for my interview with musician Holly Bowling (see fig. 1) I constructed a series of questions reflecting a mixture of our course’s themes. In this reflective analysis I will highlight a few of my favorite responses from Bowling, and evaluate each for their unique philosophical relevance to the course.
But first, some background about Bowling. Holly Bowling is a pianist and avid Phish fan. In 2013 she was at one of their shows in Lake Tahoe—a concert now famous for its performance of Tweezer (see fig. 2). The music they played that night had her “absolutely captivated.” What particularly stood out to Bowling was a thirty six minute improvisation of the song “Tweezer,” now known as the “Tahoe Tweezer.” After leaving the show she couldn’t get the performance out of her head. She “listened to it maybe three more times that night, four more times the next day on the drive home to San Francisco… and the obsession only grew from there.” Eventually her “obsession” led her to transcribe the entire performance into a solo piano composition, which has since sparked interest and admiration from many in the Phish community. Her piano composition of the Tahoe Tweezer has been released on her album, Distillation of A Dream, and shared widely across the Internet.
I was curious to know exactly what Bowling experienced that night which made such a huge impression on her. And, I wanted to know how her experience reflected some of the philosophical concepts covered in our course, in particular Nietzsche’s Dionysian state. I asked her if she could describe in greater detail what being “absolutely captivated” by the music was like for her. She said, “I’d say it’s being completely absorbed in the moment, forgetting everything else, and letting the music carry you someplace. That’s really why I go see Phish, and the feeling I get when their improvisation is really on.” Her wording here, like “being completely absorbed,” “forgetting everything else,” and “letting the music carry you someplace,” indicates a Dionysian state. For instance, in The Birth of Tragedy Nietzsche states:
The ecstasy of the Dionysian state, with its obliteration of the customary manacles and boundaries of existence, contains, of course, for as long as it lasts a lethargic element, in which everything personally experienced in the past is immersed. Because of this gulf of oblivion, the world of everyday reality and the world of Dionysian reality separate from each other (Nietzsche, sect. 7).
Another philosophic concept I saw evidence of in Bowling’s responses was Kant’s definition of the judgement of beauty in relation to the improvisational style of Phish. In section four of the Critique of Judgement Kant states:
To deem something good I must always know what sort of a thing the object is intended to be, i.e., I must have a concept of it. That is not necessary to enable me to see beauty in a thing. Flowers, free patterns, lines aimlessly intertwining—technically termed foliage—have no signification, depend upon no definite concept, and yet please. Delight in the beautiful must depend upon the reflection on an object precursory to some (not definitely determined) concept.
Important in Kant’s quotation is the idea that beauty is perceived prior to a concept about the thing being perceived as beautiful. Indeed the beauty of an object is perhaps even more striking if no concept has ever laid claim to it in one’s consciousness previously. Since improvisational music has the potential to defy the expectations of a listener through spontaneous creations, the perception of beauty upon first hearing it may enhance the ability to perceive beauty itself. “That’s the beautiful thing about improvisation,” states Bowling, “it’s there, it’s gone, the music is created in an instant, and never played the same way again.” Improvisational music thus defies our expectations of what is to come, and so slows the pace in which we can conceptualize our moment to moment experience, leaving only raw beauty to be perceived unfiltered by concepts.
Lastly, I wanted to know Bowling’s views on the nature of art; what it is, and what it’s not, for an artist. Her answers were surprisingly similar to Tolstoy’s definition of art. Bowling said, “Good art makes you feel something. Bad art doesn’t make you feel anything. Good art doesn’t necessarily make you feel good. It could be disturbing or scary or sad or joyful. Art is about connection and good art is art that makes one.” Now, compare this statement to Tolstoy when, in What is Art, he writes, “In order to correctly define art, it is necessary, first of all, to cease to consider it as a means to pleasure and to consider it as one of the conditions of human life.” Here both Bowling and Tolstoy reject a definition of art where it’s merely a source of pleasure; in fact it may even evoke states of sadness, fear, or distress. Instead Bowling proposes that, “art is about connection.” This is similar to Tolstoy’s view:
Speech, transmitting the thoughts and experiences of men, serves as a means of union among them, and art acts in a similar manner. The peculiarity of this latter means of intercourse, distinguishing it form intercourse by means of words, consists in this, that whereas by words a man transmits his thoughts to another, by means of art he transmits his feelings (Tolstoy, Ch. 5).
Both Bowling and Tolstoy are saying that the purpose of art is communion. Art communicates. It transmits feelings and makes connections through its transmissions. This is not at all unlike the connection felt by Bowling when she heard the Tahoe Tweezer for the first time.
Note: The following transcript was cut, pasted, and edited from Facebook Messenger. Student’s name has been removed for privacy.
Student: Hi Holly! Hope you’ve had a good morning! You ready to get started?
Holly: Hey hey! Ready when you are!
Student: Great! Let’s start with something easy! What made you want to transcribe the Tahoe Tweezer, in specific, into a piano composition?
Holly: Well, it didn’t really happen as something I intended to do, at first.
I went to the show in Tahoe and was absolutely captivated by the Tweezer jam that night. I think everyone there was. It was incredible. I listened to it maybe 3 more times that night, 4 more times the next day on the drive home to San Francisco… and the obsession only grew from there.
I listened to it a ton and would find myself walking around singing little bits and pieces of it that were stuck in my head. Then I started playing those little bits and pieces on the piano… and then that turned into wanting to put the pieces together. So I decided to transcribe the whole thing. I was just writing out the melody line at first but once I finished that and sat down to play it, I realized I really wanted to do it justice and needed to work it into a full piano arrangement that took all of the parts into account. So it was a gradual process that grew out of a love of the music.
Since then I’ve done other jams that I really love as well. But that one was the first one that was so spectacular it made me want to spend hours upon hours with pencil to paper J
Student: To make this easy (I never want to interrupt you) how about a code when there is a space in the conversion? How about we type PHISH when we are done?
Student: Great! Can you describe the experience of being “captivated” in greater detail? Any unique feelings, thoughts, or physical sensations?
Holly: I’d say it’s being completely absorbed in the moment, forgetting everything else, and letting the music carry you someplace. That’s really why I go see Phish, and the feeling I get when their improvisation is really on.
But then, listening to the jam later, when I’m not present at a live performance, it’s that same feeling, but also I think a more analytical type of appreciation as well. As I listen back again and again and become more familiar with the music, I notice things I didn’t notice the first time around, and those things can be captivating too.
Student: Great answer! Leads into my next question!
Do you think anything about the “jam” experience itself is lost in a solo transcription of the song? Is there anything gained?
Holly: Well of course – they’re really different. Great question. I mean the Tahoe Tweezer is an amazing piece of music no matter what, but the fact that it was improvised rather than composed makes it even more incredible. And obviously when I transcribe a jam, there’s no improvisation at all, so that element is lost. There’s no unspoken communication happening between band members, no tossing musical ideas back and forth and playing off each other… no question of “where is this going to lead” because it’s just me playing, and I’m playing something that’s already been created, and we all know where it ends. But… I’m not trying to do what Phish does. I’m basically exploring and studying what they do, by picking apart their songwriting and their incredible improvisation. That part of the process is really interesting for me. There’s so much to learn. And then I’m putting it into another form, where I hope it gives people another angle to appreciate and understand Phish’s music from.
So I guess that’s something that’s gained. In the same way that I understand a jam or composition differently when I’ve studied it and listened to it a hundred times, picked it apart and transcribed it and arranged it for piano, and my appreciation and understanding of the music deepens through that process, I think (I hope!) that there’s something gained for the listener when they hear a jam in a new instrumentation or arrangement.
But with that said, it’s not like I set out on a mission to start transcribing and arranging phish songs and jams in order to give people a new way to appreciate the music. I was just doing it for myself, because every song and jam is a game, or a puzzle waiting to be unlocked, and I wanted to play.
I just really, really, really like their music.
Student: I certainly gained something from hearing it in a new form!
Holly: Okay I guess there’s something else
Student: Oh okay, go ahead
Holly: And this goes for just the jam transcriptions. Phish never repeats a jam. You get to hear it live once, if you’re lucky. That’s the beautiful thing about improvisation – it’s there, it’s gone, the music is created in an instant and never played the same way again. And that disappears in my arrangements. BUT… I think it’s really cool to have a live setting where people get to hear a jam they love recreated once more. Obviously it’s very different from being at a Phish show. But if a little bit of that energy from a really beautiful jam is captured and lives on and gets out there again in a room full of people who love that moment of music… I think that’s a good thing
So that goes in the “something gained” column I suppose.
BTW were you a Phish fan going into this project? Or was this your first time hearing the music, for this class?
Student: I’ve never been to a show, but I’ve listened to their albums on and off for years.
I really like them but I have always been more of a casual observer/listener.
What I have been most impressed with in this class, and learning about the Phish experience, is the level of community that is involved. I knew it was big, but hadn’t fully understood how, big and welcoming it was.
Holly: Yes!!! So glad you’ve gotten a glimpse of that! It’s amazing. It’s the most positive, welcoming, creative scene I’ve ever been a part of. People look out for each other in a way I don’t think you see very often these days. It’s so cool.
Student: Can you tell me a little about the relationship your music has to the Phish community? How it is influenced by it? Or how you envision it giving back to it?
Holly: Well, it definitely got spread around thanks to the Phish community – people are very passionate about everything Phish related and are pretty active online, and I’m not sure it would have gotten the reach it has without that. One thing that has been really cool is meeting all kinds of people I didn’t know before who are really into Phish for the same reasons I am. The Phish community has people from so many different backgrounds and fields that there’s a lot of angles of interesting musical discussions to be had. As far as giving back to the community – I’m doing my initial release of my album through PledgeMusic and a percentage of the album sales through that are going to the Mockingbird Foundation, which is a nonprofit founded by Phish fans that funds music education programs for kids. They’re really awesome and are tied in with a lot of phan events and projects. [Note: Interview was conducted before release of album, Distillation of a Dream.]
Student: That’s rad!
Holly: They’re really an amazing organization. Pretty cool that they’re fan founded and have done SO many awesome projects. Check ’em out. Very good people over there at Mockingbird!
Student: I don’t want to take too much more of your time. But I wanted to ask a somewhat abstract question.
Student: What roles do you think silence and chaos play in music at large, and in your own music?
Holly: Oh man.
That’s quite the question.
Student: Too much?
Holly: I could talk about that for a long time, but to try to sum it up –
I think a lot of what makes music work is the balance between order and chaos, and the movement between these two. It’s the tension and release. Setting up patterns of predictability, and then breaking them. Creating dissonance and then resolving it. You really need both. All chaos with no order and there’s nothing to grab onto. All order with no chaos and it’s boring and static. Same goes for silence. The notes you don’t play are as important as the ones you do and sometimes space with no sound in it at all – in one musician’s part, or in the music as a whole – can be a really powerful thing. You need both – sound, and the absence of it.
Actually if you want to talk about silence in music in the context of this project, look at the rests in the Tahoe Tweezer at the peak of the song. They’re so powerful. They’re just as integral to the signature section of the jam as the notes are. And, the rests created a space for the crowd to join the band and participate in the jam.
The jam would not be nearly as cool without the silence. You gotta play the rests! That silence is filled with intent focus from the entire crowd and the band both. Everyone is locked in. Those have gotta be some of my favorite moments of the band not playing. Epic rests!!!
Student: Speaking of that moment, did you make the unicorn animation during the “woo”s in your YouTube video?
Holly: Haha. That was my husband’s doing.
Student: Loved it!
Holly: I don’t know where he got it from but it certainly belongs at that moment in the video.
Student: Last question if you are still game? It has already gone over an hour.
Holly: If it’s quick! I do have to run… I have another interview scheduled in a few.
Student: Do you think that there is such a thing as good art versus bad art? Do you think art needs to be pleasing?
Holly: Good art makes you feel something. Bad art doesn’t make you feel anything. Good art doesn’t necessarily make you feel good. It could be disturbing or scary or sad or joyful. Art is about connection and good art is art that makes one.
Student: Great (and quick) answer!
Student: Thanks so much for your time! It’s been really fun!
Holly: Pleasure to meet you! Good luck with your class and hope you make it to a Phish show sometime!
Student: BTW I really enjoyed your version of the Tweezer!
Holly: Awesome!!! So glad to hear it. If you get deeper into Phish, check out the other jam transcriptions I did, and compare them next to the originals. Fun project! Good way to get acquainted with the band
For as long as he can remember Michael Boyer has wanted to illustrate Gamehenge in its entirety. Who can forget Boyer’s Icculus Print released last summer, it was gorgeous, transcendent even, just as a mythic deity should be. This summer Michael has continued the Gamehendge series with a new Triptych Print ,“The Resistance”. These prints bring Tela, The Sloth, and Col. Forbin to life, drawing you ever deeper into Phish’s Mythc Realm. Designed with electric transparent blue and light purple ink over foil the new series has to be seen in person to truly be enjoyed. This 3 print set is available for the SPAC 2016 run and as part of the Gamehendge series. Each set measures 24″ by 36″ and is a Limited Edition of 150. AND they are On Sale now for only $60 for the set. Do. Not. Wait. Order yours now!
As part of a PHL 360 assignment, I interviewed photographer Andrea Nusinov. In this Q&A we grapple with the meaning of time, the effects of technological change on her work, and the importance of communal and personal memory. The first section is the interview text, which is followed by my analysis.
I find photography to be a melancholic medium. Photographs are invaluable resources that allow humans to look into the past. One picture shows one moment in time. String photographs together and see an era unfold. Because we are viewing what was, photography is always of the past. A photograph simultaneously shows humanity’s conquest of time (we captured a moment!) while acknowledging our ultimate, pending defeat (the moment ends).
Why do you photograph and what makes photography an artistic endeavor?
I agree – there IS something sad about looking at a snapshot in time – especially an amazing moment that you know will never, ever return. However, when I look at the alternative (possibly losing that moment in my memory), I choose to strive to capture it. That way I can hold on to it (however desperately) and at least somewhat relive it whenever I look at the pic.
I began taking photographs at shows for this precise reason. I have a terrible memory and I always have. For some reason, events and time seem to get lost in my subconscious and it’s very difficult for me to retrieve them. After a show, I often have hundreds of photographs. Many of them are terrible and I’d never share with the world. But for ME, they help me to piece together what was usually an amazing experience.
Photography is an art form because it’s a form of self-expression. I don’t just click a few shots and post them online – I spend at least a few hours on each pic I post. My goal is to try to recreate not just the reality of what happened, but the experience of what happened. Because honestly, even with today’s advanced camera equipment, photos don’t look the way they do in real life. The vividness of Chris Kuroda’s colors combined with the intensity of the music, the buzz and energy of the crowd…all of that I try to capture when I not only take the photo but enhance it.
Is there a photographer for whom you have high regard? What makes this artist special?
I love Scott Harris’ work and he’s a good friend of mine. He has a great eye. Like me, he loves to push his photos a little over the top- they are never boring. Jay Blakesburg is an amazing photographer who is excellent at capturing people in the crowd who are completely in the moment.
What other events and landscapes do you photograph?
I like to photograph anything that inspires me. Any beautiful day with great clouds makes me want to go out and take pics. The problem is that I live in the suburbs and there’s not a lot of interesting things to photograph. I would love to be able to travel more but our budget is tight.
Does your experience photographing Phish influence how you portray other events and landscapes?
Yes, I’ve realized that everyone loves vivid colors, unusual points of view and even some distortions. People want to see the world a little differently than they see it every day with their own eyes. Truly “in touch” people realize that our 5 senses are LIMITING – that if we had extra senses we may be able to see the world in completely different ways. I try to suggest that in my pictures.
Sometimes you distort a photograph. Other times you produce a “regular” photo. Here are a couple examples:
What inspires your different takes?
I don’t love distorting people’s faces (in general) – it often makes them look creepy. I always put myself in the person’s shoes- would I want to look like that in a pic? I have taken amazing yet unflattering pics of band members that I’ve never shared for the same reason.
Therefore, when I distort pics it’s usually of the entire stage or the crowd, lights, etc.
How do you go about creating such vibrant images?
I use photo apps- in some cases I bring up the saturation but often I’m just lifting shadows and brightening things up to reveal what was already there.
I don’t use Photoshop (I don’t have it and don’t know how to use it). When I first started, it was really fun to use apps to insert things that weren’t there (like a lightning bolt or a fireball, etc.) but I don’t do that anymore.
Are there times when distortion is appropriate (artistically), and times when it isn’t? How do you determine that action?
Again, I don’t like to make people’s faces look weird so I avoid that. Honestly, I will often distort a picture if the original just wasn’t that great. When you distort it, it hides some of the flaws.
But the main reason I generally don’t distort pics anymore is because photoapps lower the resolution of the original photo. It’s very frustrating- almost all photoapps do this. If it’s a photo that I may want to print/enlarge someday and the resolution has been lowered, the photo will pixelate.
How have you grappled with recent technological changes?
I have not updated my Ipad to the new iOS because it will automatically change one of my favorite apps and render some of its key features useless. It is very frustrating!
I am not a trained photographer. I use a little Sony rx100 point and shoot camera at shows. I do not get photo passes and I have no special access. I attend shows for the experience- the music, the lights, being with friends. I take pictures to record the experience. I share them with others because people have told me that it too helps them to relive sacred experiences at shows. I think that is why people buy my prints/canvases. And it gives me such happiness to know that my pictures are hanging in people’s homes!
Do technological changes peddle or limit your photographic endeavors?
I am much more artistically inclined than technologically inclined. I’m not highly motivated to learn all I need to know to be a professional photographer. When people start to talk about camera settings, tech equipment, etc. my eyes begin to glaze over!
What new skills had to be learned as a result of technological change?
I do keep on top of the latest apps. However, like I said, most of the apps lower the photo’s resolution and are therefore not attractive to me. I generally use those types of apps on pictures I have no intention of enlarging/selling.
Are there photographic methods/lessons/skills that transcend time?
Absolutely – form, composition, lighting, etc. These things will always be crucial. Color and balance are the two things I focus on the most.
On every pic I experiment with saturation, contrast, shadows, warmth and highlights.
Ultimately I think some “skills” can’t be taught – it’s a gut instinct when to click that button and which photo of your bunch to work on and present to others.
What is the role of photography in the Phish community?
Photography is important for a few reasons. The obvious one, as discussed above, is that pictures help us to preserve the memory of the experience of being there. People describe phish as a sacred experience (some call it “church”) and they want that moment captured. Bloggers who describe and review the shows want photos to accompany their words. People want photos to share with their friends but they don’t feel good about their photo skills or they are too busy dancing to stop and take pics.
Pictures also help to connect those who weren’t there to the experience of being there. Technology in general helps bring our community closer together. I’m active on Twitter and when phish is playing, we all stream/webcast and discuss the show live. It’s pretty incredible that we can do that. People live tweet pictures of the show and, again, it helps the rest of us feel in some way part of the experience. However, I will clearly say that NOTHING ever truly replaces the experience of actually attending a show.
The genre-blending music quartet Phish has attracted numerous artists over their thirty-plus year history. In the Phish culture, “phans” have created shirts, posters, pins, publications, and a near limitless variety of other trinkets that reflect their appreciation and understanding of Phish. The band has responded in kind, producing similar items, even decorating ticket stubs with tour-varying designs. Andrea Nusinov participates in the production of Phish fan art through her photography. Her sense of community, sense experience, and time reveal something universal in the Phish experience.
In his Critique of Judgment, Immanuel Kant discusses notions of sublimity, beauty and profundity. He knows that reason alone cannot grasp the totality of existence, sensory experience can deceive, and imagination illuminates ideas. Nietzsche drives at a similar point in The Birth of Tragedy when he discusses Dionysian experiences:
Dionysian excitement [traditionally associated with music] inspires a whole mass to see themselves surrounded by a host of spirits with whom they know themselves to be essentially one (Section 8).
Phish music is designed to create this feeling. It is easy to get lost in a jam. Reason is subverted as one gives oneself up to the sway and rhythm of the music. Dionysian ecstasy, or connection with the sublime, develops as fans “merge with the music” (Bicknell, Why Music Moves Us, pg 51).
The Phish festival is the most potent example of this feeling. Most recently, Magnaball allowed me and thirty thousand others participated in an artistic utopia – exploring art installations, listening to improvisational music, and discussing the meaning of life. A temporary city was developed and we lived for a weekend in tune with art and in harmony with each other. Fans often speak of a sense of freedom embedded in the music. At Magnaball, we lived it. Phish has fun with their music, constantly toying with fans and themselves as music emanates from stage. It is easy I am sure, to dismiss Magnaball and the playful ethos of Phish as having little to no “real world” value. If your mind trends that way, please consider the following.
No matter how hard we try, humans without aid of technology could never soar through the atmosphere and explore the subatomic world. We are limited not only by our senses, but the laws of nature too. If you don’t believe me, toss something, preferably inanimate, into the air. Did it fall? Of course it fell. It always will. It is this consistency in the natural world that allows humans to figure things out, to know and to “advance” civilization. As happy a thought that may be to some (did you see the photos of Pluto!?), it does ring of rigidity. This oxymoronic mode of existence, humans simultaneously growing and being held back by the same forces that shape the cosmos, spurs philosophers to ponder whether or not there are other ways to know the universe.
A great leap forward in human understanding occurred when mathematicians began to play with Euclid’s Elements, particularly the axioms (common sense definitions) that he presents and builds upon in each of his geometric proofs. The book provides a thorough and decisive examination of two-dimensional space and can be effectively applied to human endeavors in 3-D. No one thought to tinker with that reality until the nineteenth century when someone(s) dared to ask, “What are the properties of a line drawn on a sphere?” Fast-forward a few decades. Einstein is troubled. His theory of relativity is not holding up to scrutiny. Did he make a grave error? Would the tyranny of Isaac Newton continue? No! Einstein was alerted to the new, playful geometry that asked “what if space is curved?” by his buddy Marcel Grossman. Through their partnership a new way to conceive and explore the cosmos was opened! Good friends with a sense of play and curiosity changed the world.
Andrea clearly understands that nothing humans know is final, and that having a sense of play when thinking is crucial to a healthy mind and life. Photography allows her to play with reality, presenting previously unseen visions of Phish to her audience, the Phish community. Her photography allows viewers to alter the way they think about their experiences. A Phish show, and reminiscing about one’s favorite show(s) and moment(s), is a completely subjective experience. Fans discuss and deepen their appreciation of Phish by being open to new experiences, new knowledge, and new interpretations. This openness is can be construed as the single most important lesson Phish and the Phish community provide. We grow together through a willingness to play, to be exposed to new perspectives – through discussion or direct experience –, to wrestle with and incorporate new ideas into our ways of knowing and being. When Phish is on stage there is a “latent potential for any moment to become meaningful.” (Blau, A Phan on Phish, pg. 4). As those moments pass they get strung together by artists like Andrea, the individual and collective memory of fans are developed.
How did Phish grow to the point where they not only affected their audience but encouraged nearly a cult following? I think the answer is two-fold: 1) the music resounding from the stage consisted of experimental instrumentation and abstract poetry tossed together in an often hodgepodge way (not always! But from my vantage point the music seemed to say it all, lyrics were merely a formality) which allowed for the 2nd stage of the answer – fans are encouraged to interpret the tunes in anyway. The fact that Phish fans are so passionate about their Phish experiences “points to the power of affect to fuse our bodies and our senses and our minds… to bring forth a new articulation of self-understanding” (DeChaine, Affect and the Musical Experience, pg. 83).
 Thomas Levenson, The Hunt for Vulcan…And How Einstein Destroyed a Planet, Discovered Relatvity, and Deciphered the Universe (New York: Random House, 2015), 152.
Lauren Robert’s Ludasigns expands its offerings with new Fishman Tie Dyed Leggings. Lauren herself hand dyes each pair, often while grooving to Jemp Radio, turning her inspiration and love of Phish’s music into creative handmade clothing perfect for Phans.
Each pair of leggings is from American Apparel which fit true to size. Available for $50 in: XS (0), S (2-4), M (6-8), L (10-12), XL (14). If you’re tall, you might want some more length and choose to go up a size. Tour is coming so Order Yours Now!
“So he lead me through the forest, to the edge of a lagoon by which we wandered ’til we reached a bubbly spring”
Colleen Slebzak’s second installment from her Lizards series, “The Edge of the Lagoon”, delves even deeper into the Gamehendge narrative and she takes you with her. Sit with Forbin and Rutherford and let your eyes dive in. Layer upon detailed layer this piece highlights Colleen’s unique ability to visually articulate the narrative, bringing each element of the indelible story to life.
Another must have for any collector. This set of Black and Silver Limited Edition Pins is perfect. Whether you’re completing your set or just starting off, pick up your own Lizards II: The Edge of the Lagoon pins for only $35 each, shipped!