#20Moments from #tgthr2013 @together [part 1/4]

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Each year, after the epic week that is Together Boston, it takes some time to process the week and all that it ensued. As the Creative Director, I get the opportunity, maybe more than any other staffer, to check in on all the events as they get underway. From dropping into LE1F at Don’t Ask Don’t Tell at Great Scott, to most every panel at the Together Center, it was a busy week for me and one full of moments of joy.

Over at Twitter, I posted 20 moments (well, 21) regarding the week that was, May 12th-19th. Here they are with the media that was attached. In no particular order. There is no way I could put these in order.

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Booking an international superstar like Fourtet put our festival immediately on the map. Almost as quickly, tastemakers like Fact Magazine and Resident Advisor, the world leader in electronic music news, looked in our direction. It as not only a dream come true for Alex and I, it officially put Together Year Four on an entirely new international track. The way it happened was priceless too: Having not told us he was pursuing it (as to not let us down when it fell through) no one on the team knew what Alex was so excited about when he literally screamed out of nowhere in a planning meeting.

A New Cosmic Mix 5D was a collaborative effort like none other. Between Together’s Art Coordinator Alexis Avedisian, experimental curator Maggie Cavallo and no fewer than 5 artists, it took over the Charles Hayden Planetarium for two shows. About halfway through the first show, I could see DJ and visual artist D’Hana Perry looking up at the four projector on the ceiling. It looked something like this:

Later on the panal discussion about the art event, D’Hana admitted that she always wanted to see her experimental film Loose in exactly such a medium, on four projectors on a ceiling. That this collaboration accidentally resulted in making her dreams come true really made me very, very happy. DJ D’hana recently moved from Boston in part because these things were not happening. We need more of them.

After-parties are a part of any Creative Community. At the end of the night, there are undoubtedly people, artists, musicians, promoters, that simply do not want to stop. The momentum is too much, the connection is too strong. As the Berlin underground producer Objekt wound down his set from Jass at the Phoenix Landing and Anthony Naples had already opened for Fourtet, they wanted to collaborate late into the night. At a secret location, they did just that, going “back to back” or “b2b” for a few hours. All vinyl, swapping swoons from the nearly burned-out crowd.

BrianKaneHDADD-MFA Another landmark art event during the week was Brian Kane’s performance of HDADD+ at the Museum of Fine Arts. Kane, as a member of Emergency Broadcast Network, has long lived on the fringes of art culture, but over the years is more and more becoming an equal among his peers. The first five minues of the performance, when a single airplane bomber turns into a sky filled with thousands, definitely made a statement. Those in the audience–reverential A/V geeks, Kane family from Worcester and admirers of Kane’s later work, were all in awe of the video, which DJ Darryl Hell wrecked the turntables in time.

Later, time became a loop:

967008_10151395997990981_1757560446_oMeanwhile, at the Mmmmaven Project here in Central Square, we were holding free demonstrations and seminars all week, the biggest of which of course turned out to be Ableton Friday, not the least of which was when hometown heroes Soul Clap gave a seminar on “Collaboration Possibilities” that was jam packed. This was probably how they had just recently worked with George Clinton (!!).

The official Ableton blog picked up on my #5 already. They said: “Nick Garcia, with a background in jazz guitar, stopped by during the Push open house at Boston’s Mmmmaven Project for the Together Festival. In his first time playing with Push, Nick let loose Miles Davis’ jazz standard, “Donna Lee.”

Here’s Nick doing his thing:

Carry on with part 2/4 here.

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