Issue 18: Ten Years of Transmodern
Baynard Woods compiles an oral history of the Transmodern Festival, Baltimore's celebration of the experimental and avant garde
Photographs courtesy Transmodern Fest, Stewart Mostofsky, Mike Muniak, Scott Pennington, Rarah, and Melissa Webb.
Published: May 1, 2013
In this week's feature, Baynard Woods compiles an oral history of the Transmodern Festival, Baltimore's celebration of the experimental and avant garde, which starts this Thursday and runs through the weekend, culminating in the 6th annual Love Parade on Sunday (check out our schedule of highlights).
In Mobtown Beat, Van Smith continues his extensive reporting on the Black Guerrilla Family in light of the new federal charges against Correctional Officers in the far-reaching corruption case. Edward Ericson Jr. details the conviction of a fraudulent tax assessor and the lack of oversight that allowed it, and in City Folk he profiles a retired cop with a fear of math who built a robot.
In the Arts, Baynard Woods ponders the opposing interpretations street artist Gaia and Sondheim-finalist Caitlin Cunningham make of Paul Gauguin; Michael Shank stays awake at night thinking of James Kelman's Mo said she was quirky (sic); and Evan Serpick reviews Topdog/Underdog at Everyman Theatre. In Music, Josh Sisk profiles Grey march in advance of another reunion show, and Brandon Weigel tells us what's up with Indie Rock. In Film, John Barry interviews the director of Don't Stop Believin', a documentary about the Filipino frontman of the band Journey and Courtney Cousins interviews Jeff Krulik, the director of the classic Heavy Metal Parking Lot about the Found Footage Film Festival.