Issue No. 010

ROULETTE ROULETTE ROULETTE ROULETTE ROULETTE ROULETTE ROULETTE ROULETTE ROULETTE ROULETTE ROULETTE ROULETTE

ISSUE NO. 010 FALL 2019

IN THIS ISSUE Cecilia Lopez with David Weinstein Val Jeanty Hyphen Hub with Janet Biggs Brandon Lopez

509 ATLANTIC AVENUE + BROOKLYN | ROULETTE.ORG1

joespub.com | @joespub | 212-967-7555

NIGHT

IT F O R P N O N E H T

CLAUMSB DRE OF OUR

–OSKAR EUSTIS

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BOARD OF DIRECTORS James S. Staley, President Ned Rothenberg, Chairman Paul Gertner, Secretary Joseph Walker, Treasurer

Sean Buffington Jennifer Choi Mario Diaz de Leon Anne Hemenway Mimi Johnson

Gordon Knox George Lewis John Madsen Gayle Morgan William Parker

Catherine Pavlov Frances Richard Frederick Sherman, Esq. David Weinstein Brooks Williams

John King Oliver Lake James Brandon Lewis Miya Masaoka

Tomeka Reid Jen Shyu Nate Wooley

ARTISTIC ADVISORY BOARD David Behrman M.V. Carbon Sylvie Courvousier Peter Evans

Shelley Hirsch Jason Hwang Val Jeanty Darius Jones

STAFF James S. Staley – Artistic Director + Producer Jamie Burns – Managing Director Ian Bjornstad – Assistant Technical Director Emily Bookwalter – Director of Development Wolfgang Daniel – Videographer + Post Production Editor Amanda Davis – Director of Operations + Programs Caitlin Gleason – Director of Communications Mary Griffin – Development Consultant Marandi Hostetter – Special Events Assistant Woramon Jamjod – Technical Director Rachel Lyngholm – Graphic Designer + Communications Assistant Stevie May – Operations Associate Jason McMahon – Facilities Manager Stéphanie Palmer – Director of Special Events + Community Partnerships Cass Tunick – Bookkeeper David Weinstein – Director of Special Projects

AUDIO ENGINEERS

Andrya Ambro, Stephe Cooper, Ian Douglas-Moore, Teerapat “Gof” Parnmongkol, Brendan Reilly

BOX OFFICE, BAR STAFF, EVENT LIAISONS

Alex Rodabaugh, Christina Lynch, Dave Ruder, Doug Hertz, Doug LeCours, Eliza Brennessel, Jordan Clifford, Lola Harney, Lys Obsidian, Marc Anthony Solangon, Pia Wahlsten, Rachika Samarth, Raha Behnam, Simon Hanes

AV APPRENTICES

Kengchakaj Kengkarnka, Veronica Martinez, Eriq Robinson, Cassie Wieland, Beck Zegans

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R R R R R R

Conceived in Chicago and established in a Tribeca loft in 1978 at the height of the Downtown experimental arts revolution, Roulette’s mission is to support artists creating new and adventurous art in all disciplines by providing them with a venue and resources to realize their creative visions and to build an audience interested in the evolution of experimental art.

Roulette is one of the few surviving organizations to maintain its identity as an Artists’ Space and its commitment to bring the experimental performing arts to a wider public. Its history of performances—preserved in a comprehensive collection of more than 3,000 concert listings with historic audio, video, limited-edition concert posters, publications, press, and ephemera—leaves a detailed and distinguished record of four decades of artistic development, experimentation, and achievement.

www.roulette.org 4

SINCE 1978

ROULETTE ROULETTE ROULETTE ROULETTE ROULETTE ROULETTE 5

Sally Silvers: ALONG Photo: Paula Court

Arto Lindsay, Ikue Mori, YoshimiO 6

AnaĂŻs Maviel: Time is Due

Nels Cline at Roulette's 40th Anniversary Closeout Party 7

Roulette’s success is fed by an essential network of reservoirs—a genuine mission, exceptional programming, reliable funding, patience, trust, and more than a little luck. But the fundamental momentum behind each of these streams boils down to the remarkable people who drive us forward.

Performing artists who take courageous risks on our stage 120 nights out of the year; board and staff who work tirelessly behind the scenes; audiences who bring intelligence and curiosity to our programming; Roulette donors who build alongside us with generosity—all have a vital role to play in the buzzing ecosystem of our organization.

Roulette’s Patron Circle and Members are perhaps those nearest and dearest to my heart—savvy supporters, art-lovers, and attendees all rolled into one—who come back night after night (in many cases year after year) to be inspired, challenged, and expanded by our work. Their loyalty is a huge vote of confidence in our artists and in our mission, and this very loyalty holds Roulette accountable to keep striving and to keep presenting the coolest, weirdest, most extraordinary creators of our time.

Photo: Roulette's members, artists, and staff applauding a performance held at the original Roulette Tribeca loft during a salon, 2019.

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THE ROULETTE COMMUNITY

It’s a good time to be a Member at Roulette. Our 41st Season features an outstanding lineup. September welcomes Obie award-winning Robert Een, who has organized an eclectic evening with special guests including Caldecott-winning author Brian Selznick. In October guitarists Mary Halvorson and John Dieterich team up for a record release performance of their debut duo album, A Tangle of Stars. In November inimitable sound artists Tania Caroline Chen and Ikue Mori present the world premiere of their new collaboration: Astro-Electronics, later joined by guest trombonist and Roulette’s fearless leader Jim Staley; and two weeks later acclaimed saxophonist Matana Roberts returns to Roulette for the latest installment and newest release of her ongoing project COIN COIN. In December the Italian Cultural Institute and Darmstadt present an evening-length program focusing on the intricate and poetic graphic scores of Sylvano Bussotti; and the following week pioneering composer and Downtown alchemist John Zorn presents quartet music for piano, vibes, and rhythm featuring new music juggernauts Stephen Gosling, Sae Hashimoto, Jorge Roeder, and Tyshawn Sorey.

As always, Roulette Patron Circle and Members are entitled to discounted or free entry for themselves and guests and are guaranteed front-row seats for these shows. For those who will attend even a couple Roulette performances, Membership is a great option to save money and bring friends for free. But most importantly, Members are the lifeblood of our concert season and are staples of our thriving Roulette community.

Earlier this year, Seth Colter Walls wrote about Roulette in a 40th Anniversary profile for the The New York Times: “The old bohemian, culturally rich downtown Manhattan spirit still has a few embers burning through the city. And at least one of these, Roulette, is actually more powerful now than at the time of its birth in 1978. [...] It’s not only the widest ranging music presenter in the city, but also the most comfortable and welcoming.”

These are powerful words, and we feel this power through the support of everyone who has made what we do possible. Roulette is a place by and for all of us; we made this place together, and we drive it forward together.

In gratitude,

Emily Bookwalter Director of Development 9

ROULETTE MEMBERS Save $$ on Tickets Come to Special Events Front Row Seats Save $$ at Local Restaurants KEEP ROULETTE ALIVE STARTING AT $75/YEAR.

PURCHASE AT THE BOX OFFICE OR ROULETTE.ORG/MEMBERSHIP

PATRON CIRCLE Our generous Patron Circle enjoys all benefits of membership + free entry to ALL Roulette shows, guest tickets, invitations to private events with Roulette artists, and plays a major role in the vitality of Roulette.

STARTING AT $500/YEAR

VISIT ROULETTE.ORG/SUPPORT/PATRONCIRCLE OR EMAIL EMILY@ROULETTE.ORG 10

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CECILIA LOPEZ ON FOLLY SYSTEMS: EMBRACING CONTRADICTIONS

By David Weinstein Roulette Director of Special Projects 12

The sound and installation artist Cecilia Lopez was invited by Outpost Artists Resources to curate a festival that the Queensbased media arts center is co-presenting with Roulette on November 13 and 14, 2019 (11 artists, 2 days). Lopez spoke by telephone from Buenos Aires with Roulette Director of Special Projects David Weinstein to discuss what inspired her to take on the project.

What is the concept and context of the festival within the current art and technology scene?

When I was approached with the idea, the question was to curate a new media or a real time media festival that involved technology with live performances. All these terms raise questions, right? This is mostly what I do in my own work and I like the intersection of these things.

That said, I find that there’s usually a little bit of an arms race aspect to it, in how people relate to technology and how its uses are imposed.

For me, technology is never neutral and lots of things are in play in the use of it. So I thought about who is using technology with a subject-based idea, like identity or experience or even simply what does technology mean? You know, it doesn't matter how technical it gets.

The question is more, what technology means for us, and what even constitutes technology? A piano is technology. Some people in the festival use very technical stuff and some do very artisanal things.

How did you select the work? Talk about a few of the artists and how their technology and approach fit the project.

I’m interested in concepts of precariousness and the organic even with electronics. Limitations are very freeing.

So I'm trying to give a perspective on these questions. I chose work thinking about all this, which led to a wide range of people, which is interesting for me too. I was like, okay, this is cool. This works. For example, Amanda Gutierrez uses VR, and it's a walk through a neighborhood with people that narrate their experience there so it’s not removed from our reality. It's not abstract. The concept is at the service of something else. So, what's that something else and how does that service happen? It's about that interaction.

I’m interested in the complication of the subjective experience through mediation, layers; sort of like how we perceive our surroundings. I use the word mediation when there's a distance, 13

Cecilia Lopez during the performance of her piece RED at Roulette, 2019

not removal, but a layer influencing the actual experience. Nao Nishihara builds machines but they're very rudimentary and it's old-fashioned in a way. So he's less technological in terms of technique but the performance aspect creates a poetic interplay between the body and the mechanical. Ragnhild May builds clusters of wind instruments and wears them as an outfit and the visual/theatrical/sonic elements intersect with super technological stuff like algorithms and Arduino.

Aki Onda's work addresses musicality and time and performance in a very particular way with simple means like glass bells and lightbulbs and projections. So again, it's the layers between objects and actions that generate an augmented perception. Gil Arno will present an amplified customized projection machine that he's built that generates pulsating images on an offstage screen, but watching him work is part of the experience.

What will the audience encounter that may surprise them?

The theater won't be fixed in a typical auditorium format. There are things that require someone moving through the space. There are things that are more screenbased. It's a traditional theater, and you can't change the way it looks. But I feel like you can also use that dissonance in your favor to make it even weirder, you know? It sets up a contradiction, kind of like nonsense, which I'm interested in.

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What do you hope emerges as the most valuable lesson or message from the festival?

Given the world we live in, I feel like being critical about the use of technology is sort of crucial and perhaps a way of questioning the system. I think a lot about these non-neutral aspects of technology and how the non-mechanical amplifies these questions. When things are not so normalized or not so standardized it brings them back to who made it, how did they make it, where...there's lots of meaning in that for me. •

Co-presented by Outpost Artists Resources and Roulette, Folly Systems comes to Brooklyn as a two-night festival presenting the work of a wide group of artists working at the intersection of performance and media art. Featuring artists Amanda GutiĂŠrrez, Art Jones, Shelley Hirsch, Ragnhild May, Aki Onda, Gill Arno, Forbes Graham, Jean Carla Rodea, Nao Nishihara, Ian Kornfeld, and Ying Liu.

Danish visual artist and composer Ragnhild May with her selfdesigned instrument: a one-woman recorder orchestra consisting of 132 recorders, a Nilfisk vacuum cleaner, and 5 air mattress pumps.

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On November 22nd, sound artist Val Jeanty and performance artist Risha Rox—two Caribbean American artists whose work explores the diaspora, death, ritual, the ancient past and an envisioned future—present a live art show in which they create a ritual, merging Jeanty's soundscape and projection work with Rox's live painting of human canvases.

Ritual Emerging uses the black body as focal site of breath work, movement, projection, sound and visuals.

Tell us about yourself and what you do.

Who would you ideally like to collaborate with?

My name is Val Jeanty; I am a VodouElectronic Music composer. Being born and raised in Haiti until the age of 12 exposed me to a merging in sound structures and left an impression on the way I hear and create musical compositions. Living and creating in New York City for over a decade has granted me access to advanced study and knowledge of electronic sound composition. This knowledge in sound merging and design inspired me to create a new genre called Afro-Electronica, which is the incorporation of Haitian traditional ritual music with electronic instruments, the past and the future.

Diamanda Galas, Shelley Hirsch, Pamela Z, Sun Ra, John Cage, Phillip Glass. These great minds inspire me.

What is influencing your work right now?

Voudou Culture and the current state of the world.

What is your first musical memory?

Listening to my heartbeat.

What is the best advice you've ever been given?

Be humble.

Val Jeanty and Risha Rox: Ritual Merging premieres Friday, November 22 at 8pm. This piece was commissioned by Roulette and made possible with funds from the New York State Council on the Arts and New Music USA. 16

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Photo: Richard Louissaint

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LOTUS

MUSIC & DANCE

and Robert Browning Associates Present

World Dance Festival: Dancing Across Cultural Borders Sunday, October 27, 2019 at 4pm Featuring...

Jiva Dance

Bharata Natyam

Traditional South Indian Dance

at

&

Dancing Crane Georgian Dance and Theater

m ac

Manhattan Movement Arts Center 248 West 60th Street, New York, NY 10023

Tickets can be purchased online at Eventbrite.com For tickets by phone, please call 212.627.1076 Info: studiomanager@lotusmusicanddance.org This program is funded in part by the NEA. A public agency dedicated to supporting excellence in the arts, bringing the arts to all Americans, and providing leadership in arts education.

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SEPTEMBER [3rd] RESONANT BODIES FESTIVAL 2019: CHARMAINE LEE & CONRAD TAO, ANTHONY ROTH COSTANZO, JANE SHELDON Opening night of the three-day festival features new and celebrated work from longtime collaborative duo Charmaine Lee and Conrad Tao, countertenor Anthony Roth Costanzo, and soprano Jane Sheldon.

7:30pm / $20 presale | $25 doors [4th] RESONANT BODIES FESTIVAL 2019: ANAÏS MAVIEL, KATE SOPER, TED HEARNE Night 2 of RBF Anaïs Maviel accompanies herself on a custom-made 14-string kamale n’goni as she interweaves storytelling and vocal improvisation, Kate Soper and Sam Pluta (electronics) engage in exploratory improvisation, and Ted Hearne previews a new song cycle set to Dorothea Lasky’s fearlessly frank yet seductively prophetic poetry collection AWE. 7:30pm / $20 presale | $25 doors [5th] RESONANT BODIES FESTIVAL 2019: STEPHANIE BLYTHE, AROOJ AFTAB WITH VIJAY IYER & SHAHZAD ISMAILY, ERIN GEE The closing night of RBF includes Opera diva Stephanie Blythe in her drag persona, tenor Blythely Oratonio; Arooj Aftab, Vijay Iyer, and Shahzad Ismaily performing an improvised set blending jazz, indie rock, and Sufi minimalism; and solo works from Erin Gee, including her legendary Mouthpieces, as well as work with the Argento Ensemble 7:30pm / $20 presale | $25 doors See all 3 nights of Resonant Bodies with a $50 Festival Pass $30 Superfan Tickets include VIP seating (2-3 three rows front-row-center) and one drink ticket to Roulette’s Bar. 20

[12th] RAJNA SWAMINATHAN: RAJAS Mrudangam (South Indian percussion) artist and composer Rajna Swaminathan presents RAJAS, a musical ensemble that explores the resonances among Indian music, jazz/ creative music, and other improvisational traditions. Featuring saxophonist María Grand, guitarist Miles Okazaki, bassist Stephan Crump, pianist Utsav Lal, and vocalist Ganavya Doraiswamy.

8pm / $18 presale | $25 doors [18th] URSULA SCHERRER WITH MARCIA BASSETT: TIME_UNTIME In this collaboration with sound artist Marcia Bassett, Ursula Scherrer presents a durational performance in the latest segment of Recycle Myself.

8pm / $18 presale | $25 doors [20th] TOMAS FUJIWARA’S 7 POETS TRIO: ALBUM RELEASE Tomas Fujiwara returns with his trio, featuring the drummer/composer alongside cellist Tomeka Reid and vibist Patricia Brennan, to celebrate their eponymous debut record.

8pm / $18 presale | $25 doors [24th] ROBERT EEN AND MUSICIANS: SUBTLE ELECTRIC FIRE The acclaimed vocalist, cellist, and composer Robert Een is joined by Katie Geissinger, Nick Hallett, Bill Ruyle, Steve Elson, plus other special guests, to commemorate his 40th season with an evening of music for voice, cello, hammer dulcimer, vibraphone, saxophone, and percussion.

8pm / $18 presale | $25 doors [26th] INTERPRETATIONS: ROCCO DI PIETRO | BEN NEILL Interpretations presents the music of Rocco Di Pietro and the world premiere of Ben Neill’s Fantini Futuro.

8pm / $20

[28th] RBA: WAJDE AYUB & ENSEMBLE | WASLA: SOUL MUSIC OF SYRIA Robert Browning Associates and Lotus Music & Dance, in partnership with Brooklyn Maqam, present an evening of Syrian music.

8pm / $26 presale | $30 doors

OCTOBER [7th] JESSICA PAVONE STRING ENSEMBLE: BRICK AND MORTAR Multi-string instrumentalist and composer Jessica Pavone celebrates the release of Brick and Mortar, her new string ensemble's first record, featuring Pavone alongside musicians Abby Swidler, Erica Dicker, Angela Morris, Meaghan Burke, Nicholas Jozwiak, Shayna Dulberger, Andrew Roitstein, and video artist Neil Cloaca Young.

8pm / $18 presale | $25 doors [10th] LIBERTY ELLMAN’S SUPERCELL: THE LAST DESERT Guitarist/composer Liberty Ellman's ensemble Supercell premieres a new body of work: The Last Desert. Pulling from jazz, electronic, chamber, and improvised influences, Ellman’s music is informed by a diverse and dynamic range of experience.

Featuring Ellman alongside alto saxophonist Steve Lehman, trumpeter Jonathan Finlayson, tubist Jose Davila, bassist Stephan Crump, and drummer Damion Reid.

8pm / $18 presale | $25 doors [15th–17th] KOOSIL-JA/DANCE KUMIKO: OPEN DATA STORY OF PROFIT AND DEATH Mover and performance artist koosil-ja/ danceKUMIKO presents three evenings of movement and media examining the transformation and reduction of human life into data. Along with Geoff Matters and Melissa Guerrero, koosil-ja operates the “deconstruction of theatrical representation” with cellphones, internet connectivity, and projections.

8pm / $15 presale | $20 doors

[19th] RBA: NAMÂD TRIO: PEJMAN HADADI, SAEED KAMJOO & KOUROSH TAGHAVI | ODE TO HOPE – PERSIAN MUSIC The Namâd Trio brings together three brilliant purveyors of Persian music.

8pm / $30 [23rd] NICK HALLETT: TO MUSIC’S FINAL ACT // EMILY MANZO: HOW TO RESCUE In a double bill of musical storytelling, composer Nick Hallett and ensemble return to perform the grand finale of his newest opera project, To Music; and composer Emily Manzo presents the world premiere of her new multimedia song cycle, How to Rescue.

8pm / $18 presale | $25 doors [24th] ~NOIS AND KINDS OF KINGS: AFTERIMAGE Saxophone quartet ~Nois performs new pieces by each member of the composer collective Kinds of Kings, featuring Kinds of Kings composer Shelley Washington on baritone saxophone.

8pm / $18 presale | $25 doors [28th] MARY HALVORSON & JOHN DIETERICH: A TANGLE OF STARS Guitarists Mary Halvorson and John Dieterich premiere the record release performance of their debut duo album, A Tangle of Stars, out October 25 on New Amsterdam Records.

8pm / $18 presale | $25 doors [29th] AARON BURNETT PRESENTS COMPOUND GRAVITY Resident artist saxophonist Aaron Burnett returns with his ensemble the Big Machine to present Compound Gravity.

8pm / $18 presale | $25 doors

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NOVEMBER [5th] ASTRO-ELECTRONICS: TANIA CAROLINE CHEN & IKUE MORI WITH GUEST JIM STALEY Sound artists Tania Caroline Chen and Ikue Mori present the world premiere of their astro-electronic acoustic dream dialogue with special guest artist, Jim Staley on trombone.

8pm / $18 presale | $25 doors [6th] JOEL HARRISON QUINTET FEATURING SARODIST ANUPAM SHOBHAKAR WITH TALUJON PERCUSSION QUARTET: STILL POINT The guitarist-composer presents the record release for Turning World—music for jazz quartet, sarode, and percussion, featuring Anupam Shobhakar, Dan Weiss, Stephan Crump, Matt Ward, David Cossin, Michael Lipsey, V. Selvaganesh, and special guests.

8pm / $18 presale | $25 doors [7th] INTERPRETATIONS: JD PARRAN | AMIR BEY JD Parran presents Elevated Moon and Harlem Reunion performs original improvisational compositions by JD Parran and Amir Bey. 8pm / $20 [9th] RBA: L. SHANKAR | MUSIC OF INDIA Master violinist and vocalist L. Shankar (aka Shenkar) performs deeply soulful renditions of Indian classical music.

8pm / $30 [12th] NEIL ROLNICK: JOURNEY’S END Composer Neil Rolnick—pioneer of the use of computers in musical performance— presents an evening of new pieces, including Journey’s End with pianist Kathleen Supové and Messages with dancers/choreographers Julia Bengtsson and Mauricio Vera—pieces that reflect on the final days of Neil's late wife, Wendy (1942–2018). The evening also features other works performed by Jennifer 22

Choi, Mellissa Hughes, Tomas Cruz, Bill Solomon, and drawings by Steve Brodner.

8pm / $18 presale | $25 doors [13th–14th] FOLLY SYSTEMS Co-presented with Outpost Artists Resources, Folly Systems comes to Brooklyn as a twonight festival featuring the work of a wide group of artists working at the intersection of performance and media art. Featuring Amanda Gutiérrez, Art Jones, Shelley Hirsch, Ragnhild May, Aki Onda, Gill Arno, Forbes Graham, Jean Carla Rodea, Nao Nishihara, Ian Korneld, and Ying Liu. 8pm / $18 presale | $25 doors [17th] MATANA ROBERTS: COIN COIN CHAPTER IV: MEMPHIS Composer and saxophonist Matana Roberts returns with the much-anticipated fourth installment of her hugely innovative and profoundly iconoclastic COIN COIN project.

8pm / $18 presale | $25 doors [20th] NEW FIRMAMENT PRESENTS: FEAST OF THE EPIPHANY AND NICK PODGURSKI New Firmament presents new and reworked music for soloist, Nick Podgurski, and his ensemble, Feast of the Epiphany. Featuring Andrew Smiley, Caley Monahan-Ward, and Tody Gedrich.

8pm / $18 presale | $25 doors [22nd] VAL JEANTY AND RISHA ROX: RITUAL MERGING Sound artist Val Jeanty and performance artist Risha Rox present the world premiere of their Roulette 2019 NYSCA Commissioned piece. A potent ritual with the black body as a focal site of breath work, movement, projection, sound, and visuals, Ritual Merging blends Jeanty’s soundscape and projection work with Rox’s live painting of human canvases.

8pm / $18 presale | $25 doors

[23rd] RBA: HAMID AL-SAADI WITH SAFAAFIR | JOURNEY TO THE HEART OF THE IRAQI MAQAM Hamid Al-Saadi, the foremost purveyor of the traditional Iraqi maqam, performs with Safaafir.

8pm / $30 [25th] FACE THE MUSIC: TRANSFORMATIONS Kaufman Music Center's Face the Music— the country's first youth ensemble dedicated to studying and performing music by living composers—performs alongside violinistcomposer-vocalist Finnegan Shanahan with her work The Two Halves.

7pm / $15 presale | $20 doors

DECEMBER [3rd] HYPHEN HUB: VISIONS OF THE FUTURE SERIES: HOW THE LIGHT GETS IN How the Light Gets In is a multimedia performance by artist Janet Biggs. Driven by aural triggers and machine learning, the work explores the relationship between and confluence of humans and technology through shared creative production. While addressing complexities, How the Light Gets In focuses on hope, in a time when inclusion and pursuit of new possibilities is being challenged.

8pm / $25 presale | $30 doors [5th] INTERPRETATIONS: FRANCIS WHITE | ELISABETH BROWN The Momenta Quartet joins forces with composers Elizabeth Brown and Frances White in a multimedia evening fusing Western contemporary music with Japanese aesthetics, literary references, and a video/ sculpture installation by artist Lothar Osterburg.

8pm / $20

[6th] ESSENTIAL REPERTOIRE: THE MUSIC OF SYLVANO BUSSOTTI As part of Brooklyn’s mercurial Darmstadt series, the composer and pianist Luciano Chessa has organized an evening-length program focusing on the intricate and poetic graphic scores of composer Sylvano Bussotti with two fellow longtime Bussotti collaborators: cellist Frances-Marie Uitti and bass-baritone Nicholas Isherwood.

8pm / $18 presale | $25 doors [7th] RBA: GAMELAN KUSUMA LARAS WITH I.M. HARJITO | MUSIC AND DANCE OF JAVA Gamelan Kusuma Laras performs traditional Javanese gamelan music under the direction of the renowned I.M. Harjito.

8pm / $30 [9th] THE ANAGRAM ENSEMBLE: I LOOKED AT THE ECLIPSE BY JAMES ILGENFRITZ & SARAH KRASNOW Composer James Ilgenfritz’s Anagram Ensemble presents I Looked At The Eclipse—a new opera that blends video, theater, language games, free improvisation, and chamber music.

8pm / $18 presale | $25 doors [10th] JUDITH BERKSON AND ORDINARY AFFECTS Composer/performer Judith Berkson presents a collabortion with new music chamber ensemble, Ordinary Affects.

Featuring JPA Falzone, Laura Cetilia, Morgan Evans-Weiler, Jordan Dykstra, and Luke Damrosch.

8pm / $18 presale | $25 doors [12th] COLLAPSIBLE SHOULDER BIG BAND With the core of Chris Cochrane, Kevin Bud Jones, Kato Hideki, and Brain Chase, the fifteen-piece Collapsible Shoulder Big Band performs compositions from Chris Cochrane’s upcoming release, The Invention of Shoes, as well as an assortment of favorite compositions and songs.

8pm / $18 presale | $25 doors 23

[14th] JOHN ZORN: HEAVEN AND EARTH MAGICK Composer John Zorn presents quartet music for piano, vibes, and rhythm featuring Stephen Gosling, Sae Hashimoto, Jorge Roeder, and Tyshawn Sorey.

8pm / $35 presale | $40 doors [16th] BRANDON LOPEZ: SUN BURNS OUT YOUR EYES Bassist and composer Brandon Lopez presents new work for his trio and 4tet as part of his Roulette 2019 Jerome Residency.

8pm / $18 presale | $25 doors

[17th] REMY LE BOEUF’S ASSEMBLY OF SHADOWS Remy Le Boeuf brings together haunting cinematic textures and melody-driven themes for his 20-piece jazz orchestra, Assembly of Shadows.

8pm / $18 presale | $25 doors [21st] PHILL NIBLOCK: 6 HOURS OF MUSIC AND FILM Phill Niblock stages his annual Winter Solstice concert: six sublime hours of acoustic and electronic music with mixed media, film, and video.

6pm / $18 presale | $25 doors

MEMBERS GET FRONT ROW SEATS TO THESE PERFORMANCES: [September 24th] Robert Een and Musicians: Subtle Electric Fire [October 28th] Mary Halvorson & John Dieterich: A Tangle of Stars [November 5th] Astro-Electronics: Tania Caroline Chen & Ikue Mori with Jim Staley [November 17th] Matana Roberts: COIN COIN Chapter IV: Memphis [December 6th] Essential Repertoire: The Music of Sylvano Bussotti [December 14th] John Zorn: Heaven and Earth Magick 24

RENT ROULETTE

R O U L E T T E I S AVAI L A BLE TO R E N T FOR : • • • • • •

C o n c e r t s & Da nc e Per form anc e s We d d i ng s & Ba r/ Ba t M it z va hs G a l a s & Fu ndraiser s Fi l m S c re e n ing s & Film S hoot s C o n f e re n c e s & Workshops C o rp o ra te Event s & Holid ay Par t ie s For inquiries, visit rent.roulette.org or email us at events@roulette.org Roulette offers subsidized rates for non-profits.

Photo: "Dragus Maximus" by Heartbeat Opera, 2018

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JANET BIGGS ON HOW

PART OF HYPHEN HUB’S VISIO

On December 3rd, Janet Biggs' multimedia piece, How the Light Gets In, opens Hyphen Hub’s Visions of the Future Series at Roulette. Hyphen Hub is a New York-based non-profit organization that explores, promotes, and presents radical new visions of the future through the integration of art and emerging technologies. In anticipation of this premiere performance, Hyphen Hub’s Director and Co-Founder, Asher RemyToledo, spoke with Biggs about the project and her artistic process.

Janet, your work often takes you to extreme environments. Can you talk a bit about why?

I am drawn to extremes—be it location, action, or situation—as a way to understand how individuals define a sense of themselves. I am curious about selfdefinitions and their relationship to place. Are we rooted geographically, and even geologically, to the place where we live? Does the bedrock under our feet help define how we see ourselves? What happens to our sense of self if the very ground we stand on shifts or is unstable, if we are uprooted by war, by flooding or drought ...or by a diagnosis?

I have filmed people who survive, and some who thrive, in conditions that seem unimaginable, in locations like the High Arctic of Svalbard or in the Taklamakan desert of Western China. I’ve filmed people mining sulfur inside an active volcano in Indonesia and people living in an area conflict in the Horn of Africa where the geopolitics of the region is echoed in geologic volatility as plate tectonics split the ground apart and the earth boils and burns.

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W THE LIGHT GETS IN

ONS OF THE FUTURE SERIES

By Asher Remy-Toledo Director and Founder of Hyphen Hub

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You are known primarily for your work in video. What is the appeal of performance?

Yes, I am most known for my work in video and video installation, but there is nothing more thrilling (and terrifying) for me than putting together a live performance. If I have done my job well, brought together the right performers, teased apart some of the best elements from my videos, I can bring my ideas to life in a new way and create unexpected connections for both myself and my audience.

Combining performers who are the very best in their given fields, they often inspire each other. When it works, the performance can completely exceed my expectations and imagination.

Why did you choose the title How the Light Gets In, and can you tell us a bit about what are we going to see in the performance?

JB: The title of the performance, How the Light Gets In, was taken from lyrics of Leonard Cohen’s 1992 song Anthem: Forget your perfect offering There is a crack, a crack in everything (there is a crack in everything) That's how the light gets in How we perceive things is dependent on perspectives. Something perceived as negative or problematic can be seen as full of possibility, depending on perspective.

So, let me give you an idea of what you are going to see in the performance. The piece is constructed in multiple movements. The performance explores the relationship between humans and technology through shared creative production, driven by aural triggers and machine learning.

It opens with a duet between Mary Ester Carter and AI Anne. Mary is a singer songwriter, dancer and actor. AI Anne is an artificial intelligence entity trained on music improvisations. There is also a composition by drummer Jason Barnes, titled Entity. Jason lost his arm in a workplace accident and will be wearing a prosthesis that has two drum sticks attached. One stick is controlled by Jason and the other stick has artificial intelligence that allows it to hear what Jason is playing and improvise off him.

Another section features Brian Reynolds running on a treadmill. Brian is a world record-holding marathon runner who is a below-knee, bilateral amputee. Brian runs on carbon fiber prosthetic blades. In the performance, I use the amplified sound of his blades striking the treadmill as a percussive element.

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Why prosthetics? What was your selection process in choosing performers?

When I graduated from college, I needed a way to support myself. I was a terrible bartender and waitress, so I checked the job placement board at my school and there was a listing for someone to mix and pour plaster. I had been a sculpture major, so happily I had those skills. The job was in an orthotic and prosthetic shop.

For the next twenty-five years, I made orthotics (external braces) and prosthetics as my day job until I was finally able to support myself from my artwork.

New technologies were being incorporated into prosthetics. I learned about neural and muscular interfaces that made movement more fluid and gave the wearer more control. I found the technology fascinating, but then I met Gil Weinberg, who introduced me to the idea of using AI, not just as an adaptive tool, but as a collaborative entity.

Gil is the originator of Georgia Tech’s School of Music Technology. I met him when we were both invited to present at a neurological conference on art and the brain. After hearing Gil’s presentation about Shimon, a marimba-playing robot with cutting edge AI that he created, I stalked him around the conference until he agreed to work with me. When I was at Georgia Tech, working on my project with Shimon, Gil introduced me to Jason Barnes. Jason approached Georgia Tech after he lost his arm in the hope that Gil could help him regain his ability to drum.

Gil not only worked to help Jason drum again, he created a prosthesis with AI that allows Jason to drum faster than other humans.

Drummer Jason Barnes wearing a prothesis that has two drum sticks attached: one stick is controlled by Barnes, the other has artificial intelligence that allows it to hear what Jason plays and improvise off him.

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I filmed Jason for my video installations titled Seeing Constellations in the Darkness Between Stars, but I have always wanted to do something live with him. When you asked me to create a new performance for Hyphen Hub, I knew exactly who I wanted to work with.

I am a fan of “wall of sound” performances, from drum corps to Rhys Chatham’s piece for 500 guitars. Once Jason was on board, I started to think of other percussive elements. Instead of accessing traditional instruments, I wanted to incorporate something less expected. I’m a jogger and use that time to think about projects and possibilities. Hearing my own rhythms on the pavement brought on the idea of using a runner’s footfalls as the second percussive element. A little research into the best adaptive runners in the world, and a little more stalking, and eventually Brian agreed to become part of the performance.

What is your connection to music?

As the daughter of a music theorist/ composer, I grew up with music, both conventional and non-conventional. I’m extremely susceptible to music’s power to evoke emotions and am interested in exploiting that in my work. There is nothing like a cello to set a tone.

I’ve had the privilege of working with some amazing musicians in my professional life. I find that musicians are a generous group and 30

will enthusiastically recommend other musicians. I reached out to violinist Earl Maneein, who I’ve worked with for years and knew would be essential for this performance. I described the kind of vocalist I was envisioning and Earl immediately recommended Mary Esther Carter. Once I heard Mary’s voice, I couldn’t imagine anyone else in that role in the performance.

What was the inspiration for AI Anne?

AI Anne is named after my Aunt Anne, who was severely autistic and had apraxia of speech, which is a condition where the vocal cords are intact, but there is a damage to the brain, a disconnect between the brain and the ability to speak. She could make sounds and even hum, but did not have the ability to speak or sing lyrics. I was my aunt’s guardian and eager to advocate on her behalf, to understand and convey her wishes. One of the agencies that worked with her introduced us to Facilitated Communication.

Facilitated Communication (also known as supported typing) is a form of augmentative and alternative communication in which someone physically supports another person and helps them to type or point at pictures and words. It was an early, and highly controversial, method of technological adaptation.

When we created AI Anne, the entity did not have language. AI Anne was able to listen and make choices in response

to what she heard, but they were tonal responses. The first time I heard AI Anne respond to Mary’s voice it was uncannily like my aunt’s vocalizations.

For the upcoming performance at Roulette, we are developing AI Anne’s language skills. She will be able to speak soon.

What is your relationship to technology and who are you partnering with for this performance?

I am interested in and fascinated by new technologies, but depend on collaborations with experts to be able to realize my vision. In this performance, Richard Savery, a music technologist and PhD student of Gil Weinberg, has become the man behind the curtain.

Richard has been working with Jason and his AI prosthesis. He also wrote algorithms that gave voice to AI Anne and suggested new triggers and new areas of exploration. No matter what I came up with, he made it a reality.

I am thrilled to be part of Hyphen Hub’s Visions of the Future Series!

I remember our first conversations about what the future could look like, how technology has the ability and potential to help humanity adapt to new conditions, internally and externally. But personally, I am committed to helping develop a future of inclusion, exploration, and pursuit of new possibilities through research and imagination, especially when these things are being blocked and challenged by the current administration here at home. •

I am also grateful to you, Asher, for setting up a collaboration with Nokia Bell Labs. Bell Labs has such an amazing history in music technology development. Nokia Bell Labs has collaborated on both sonic and technological aspects of this performance.

I am excited to have your performance open Hyphen Hub’s Visions of the Future Series here at Roulette.

Hyphen Hub's Visions of the Future Series: How the Light Gets In premieres Tuesday, December 3rd at 8pm.

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On December 16, bassist and composer Brandon Lopez presents sun burns out your eyes, a new work for trio and 4tet developed as part of his Roulette Residency and made possible with funds provided by the Jerome Foundation.

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Tell us about yourself and what you're planning for Roulette.

I’m a bassist and composer and my work deals with improvisation. This coming December, I’ll present music for trio and quartet. The work, I think, will involve repetition and stasis and also none of it.

Who would be your ideal collaborator?

The ideal collaborator has little problem with frustration and the wrong choices being the right ones and the right ones needing a little shit on them.

What is influencing your work right now?

I’ve been thinking a lot about the intangible, the left hand path, and how to make a cat happy. Unsure how that cocktail is influencing me, but I need to stand up. The level of inebriation can only be seen then. Unsure if the legs work. Will see in December.

What is your first musical memory?

Swearing off the stuff after getting a D in 3rd grade music class. My recorder had melted next to the family's wood stove, and I was too sheepish to ask my mother to order a new one. That was maybe the first time I muttered, “fuck music"—and by no means the last of the sentiment.

How would you describe the New York music scene?

The New York music scene seems, by the grace of god, a fertile valley. Have to admit, all these condos feel like watching the fast-motion bleaching of the great barrier reef that creates a sometimes overwhelming sense of dread.

Brandon Lopez: sun burns out your eyes takes place on Monday, December 16 at 8pm with performers: drummer Gerald Cleaver, electronicist Cecilia Lopez, and saxophonist Steve Baczkowski.

Photo: Cameron Kelly courtesy ISSUE Project Room.

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ROULETTE SUPPORTERS Ro ulet te is g ra te f ul to the f ollow in g gen ero u s orga n iza t i ons a nd indiv id ua ls for t heir su ppor t of R o u l e t te ’s N ew + A d ve nt uro us Pro g ra m s . S p ecia l Tha nks t o Roulet t e's Pa t ron Circ l e ( * ) a nd M e m b ers ( ^ ) !

(From 7/1/ 2018 – 8 /15 / 2019 ) To find out how you can contribute, p lea s e v is it w w w. ro u let t e.org / sup p or t or ema il us at develop me nt@ ro ul e t te . org

$100,000+ Office of the Brooklyn Borough President The New York City Department of Cultural Affairs The New York Community Trust: The Edward and Sally Van Lier Fund The Office of Councilman Stephen Levin Anonymous $50,000–$99,000 The Baisley Powell Elebash Fund Thomas & Kamala Buckner* Phaedrus Foundation Howard Gilman Foundation The Janey Fund Jerome Foundation New York State Council on the Arts New York State Regional Economic Development Councils Anonymous $10,000–$49,999 The Aaron Copland Fund for Music Calvert Foundation Counterpoint Fund The Fan Fox & Leslie R Samuels Foundation Mertz Gilmore Foundation The Henry Luce Foundation mediaThe foundation, inc.

National Endowment for the Arts Starborn Industries, Inc. Vermont Community Foundation Anonymous

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$5,000–$9,999 Amphion Foundation Bresnan Family Fund* The Gladys Krieble Delmas Foundation Golden Rule Foundation Fidelity Charitable Gift Fund Paul and Rochelle Gertner The Francis Goelet Charitable Lead Trusts Anne Hemenway Jewish Communal Fund* Mimi Johnson John G. Madsen on behalf of Goldman Sachs* Fredrick Sherman, Esq. Richard Teitelbaum / The David & Sylvia Teitelbaum Fund, Inc.* Anonymous $1,500–$4,999 Sean Buffington The Alice M. Ditson Fund of Columbia University Councilman Brad Lander Gayle Morgan Nancy Hager The Harkness Foundation for Dance The Irving B. Kahn Foundation New Music USA Studio in a School Association, Inc. Anonymous (2)

$500–$1,499 Rajendra and Manjula Bansal Andrew Bart* Julie and Charles Bookwalter* Michael and Lesley Brovner* Clinton Fisher* Edward Haber Mari Kimura* Frank and Patricia Lenti Johanna Lessinger Andy Levine and Kate Collier* Barbara Lockwood Todd Marcus, Gray Legal* Geoffrey Matters* David Means* Dennis Mykytyn* Francesco Pellizzi & Gini Alhadeff Leonard Pickett and Kathy Ray^ James Rosenfield* Philip Schuyler The Selvage Fund at the East Bay Community Foundation John Seroff* Deborah Steinglass and Al Giammarinaro* Anonymous $250–$499 Khaled Alzoubi^ Adrienne Anderson^ Judy Balos^ Christopher Bren^ Bob Bresnan^ Michael Byron^

Morton Cahn Dick Connette^ Mario Diaz de Leon Dewey Emadoo^ Douglas Ewart Elizabeth Feldman William Ferullo^ Steve Gorn & Barbara Bash Mary Halvorson^ David Hirvonen Jane F. Kilthau John King^ Alain Kirili and Ariane Lopez-Huici^ Kyoko Kitamura^ Guy & Jan Klucevsek^ Steven Koenig^ Ingrid Laubrock^ Bruce Lokeinsky^ Maelenn Masson^ William Mazza^ Matt Mehlan^ Meredith Monk Nicholas Moy^ Mark Palermo^ Morgan Powell Edward Price^ Bruce Qua^ Raymond Rashid Ralph Samuelson Judith Block Solomon Laetitia Sonami Karen Steele David Stoelting^ Harry Weinberg^ Jason Weiss^ Edward Wilkerson $75–$249 Janice Arakaki^ Claude Arpels Eric Barsness^ Mari Beckman-Lau^ Eve Beglarian Richard Berger^ Jean-David Beyer^ David Bither Stephen Blum^ Michael Brownell^ Jose Cicerchia^

Josiah Cuneo^ Philip D'Elia^ Jeff Douglas^ Maurice Edwards Jr.^ Raymon Elozua George Ericson^ Charles Eubanks^ Lainie Fefferman^ David First^ Robert Flynt^ Fast Forward^ Julia Foulkes^ Bruce Gallanter^ Myrel Glick^ Clara Goetz Charles Goldman^ Jesse Goldman^ Mark Graham^ Ananda Grant^ Bob Haddad Gail Holst-Warhaft Helen Hurwitz^ Brenda Hutchinson^ James Ilgenfritz^ Abdeen Jabara Shawn Jaeger^ David Krasnow^ Joseph Leighly^ David Lerner^ Herb Leventer^ Thomas Lino^ Barbara Mayfield^ Harold Meiselman^ Michael Monhart^ Elyse and Steve Montiel^ Lili Murad Padmini Narumanchi^ Jascha Narveson^ Andrew Neumann^ Jon Noble^ Kristin Norderval Judith Ornstein^ Seth Rosner^ Branka Ruzak Luigi Santosuosso^ Howard Shih^ Joshua Shneider^ Leigh Smith^ Michael and Nancy Udow Laurel Van Horn^

Jack & Linda Vartoogian Gib Veconi Seth Washinsky^ David Weller^ Michael White^ Jeffrey Wilner^ Charles Yassky^ Lindsay Ylndsye Lizard^ Additional Special Thanks to the Following Donors: Mustafa Ajlyakin Franklin Bruno Ricardo N. Burke Kristine Delfausse Angie Eng Allan Evans Arthur Forman Steve Franzino Al & Leslie Terry Sarah Goldfeather Gary Granatoon Samuel Greenhoe Alexander Harwood Melanie Hedlund Jin Hi Kim Brett Fletcher Lauer Zach Layton Joy & Solomon Mendelsohn Vikas Menon Xiao Fen Min William Morrison Jude Ornstein Vasudevan C Panicker Bill Schaffner and Susan Kelly Christine Sullivan ZoĂŤ Tirado Mary Jo Urbanek Jan Van Assen

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We th a nk the f o l l o wi n g orga n iza t io n s an d in div i d ua l s f o r the i r v it al s u pp or t in la u n c h in g

$150,000+ Howard Gilman Foundation $50,000+ Counterpoint Fund Anonymous $5,000–$15,000 Sean Buffington Aaron Copland Fund for Music Paul and Rochelle Gertner / Starborn Industries Jim Hodges John Madsen $1,000–$4,999 Martin Atkin David Auerbach and Nina Kang Emily Bookwalter and Scott Wollschleger Maggie Clare Allan Chasanoff Anthony Creamer Robert Goldsmith and Teresa Carbone Dick Connette Michael Drinkard and Jill Eisenstadt Matthew Flint Anne Hemenway Ariane Lopez-Huici and Alain Kirili Mark Jackson Mimi Johnson Geoff Matters Phyllis Mills Gayle Morgan Patricia and William Parker Catherine Pavlov Fredrick Sherman Srinija Srinivasan The David & Sylvia Teitelbaum Fund

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$500–$999 Erich Bechtel Jon Gibson Jane Gullong Charles Laven Gary Lippman Christian Marclay Jacqueline Ochs Tristan Perich Ray Sasaki Amy Schwartzman Donna See Fred Seibert $250–$499 Erik and Amanda Bauer Lukas Antkiewicz David Behrman William Bratton Morton Cahn Michael Catapano Graham Connah Mario Diaz de Leon Susan Feldman David Felton Fred Frith Robert Gaffey Steve Gorn and Barbara Bash Shelley Hirsch Gilbert Hsiao Valerie Lynch Maurice Martin Anita Merk Stéphanie Palmer George Petras Leonard Pickett Ralph Samuelson Torsten and Mu Wiesel Karen Zukowski and David Diamond

$100–$249 Eric Barsness Jennifer Bernstein Judith Block Solomon Mary Bosakowski Diana Brueggemann Neill Cardinal Furio Carol Clements Ron Coulter Sylvie Courvoisier and Mark Feldman Gregory, G. Lucas, and June Crane Josiah Cuneo Philip D'Elia Robert Dick Dianne C Dreyer Raymon Elozua Marcia & Jess Fardella Betty Feldman Christine Ferris Aviva Fisher and Clinton Fisher Robert Flynt Carl Friedberg Eugene Gannon Clara Goetz Annie Gosfield Lou Grassi Rachel Green Tom Hamilton and Jacqueline Martelle Conrad and Pauline Kim Harris Jerome Harris Edward Harsh Richard Hazelton and Tamar Rothenberg Monica Hernandez Robin Holcomb Holland Hopson Wayne Horvitz Erica Hunt and Marty Ehrlich Jason Hwang Massimo Iacoboni

Michael Jung Ross Karre Roger Kleier Guy Klucevsek Juliette Le Robert Lee David Licht and Doris Vila Diane Ludin Kalin M Denman Maroney Dorothy Martirano Mary Ellen Matthews James McNeely Matt Mehlan Barbara Mensch Will Meyerhofer Meredith Monk Carol Murashige Eric Muzzy David Naumann Zeena Parkins Mari Ono Cait O'Riordan Anatole Plotkin Mathew Pokoik Fred Roohi Zbigniew Rossa Jeffrey Schanzer Carlota Schoolman Frederic Seaman Dan Senn Gladys Serrano Joshua Shneider and Rosemary Moore Sally Silvers Eli Spindel David Stoelting Carl Stone Natasha Takemoto Sam Tarakajian JG Thirlwell Cia Toscanini Miranda Von Dornum Jason Weiss Matt Werth Brooks Williams Dorothy Winkler

D Wolff Scott Wollschleger Rob Wynne Up to $99 Katharine Adams Elena Alexander David Belmont Robert Black Cara Brownell Dana Buoniconti Jacob Burckhardt Taylor Ho Bynum Mark Calderon Philip Champon Charles Davis Angie Eng Peter Evans Thomas Faust Alan Feller Stephanie Griffin Shogo Haraguchi William Hooker Elise Hurley Yeganeh Javadi Terry Kattlema Jane F. Kilthau John King Annea Lockwood Sean Madigan Al Margolis Julie Martin Lisa Meyer Ikue Mori Mark Newman Jon Noble Vasu Panicker Michael Price Adam Shatz Tristain Rais-Sherman Steve Rosenstein Martha Rounds Ursula Scherrer Leslie Schneider A.L. Steiner Margaret Leng Tan

Eileen Thomas Nurit Tilles Jan Van Assen Min Xiao-Fen Pamela Z

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Tracking The Odds: The Roulette Concert Archive Featuring selected highlights from Roulette's audio archive, Tracking the Odds is a monthly hour-long radio special produced by Roulette and broadcast in partnership with Wave Farm's WGXC 90.7 FM and Standing Wave Radio. It airs the fourth Monday of each month, 3-4pm ET, and is archived at wavefarm.org.

The Roulette Archive Roulette's online archive (roulette.org/archive) features a selected SoundCloud playlist of our past concerts and includes staff, artist, and community picks; previews; and historic restorations. These have been edited, optimized, and sequenced for your listening pleasure. Requests are welcome.

Write us at archive@roulette.org.

Volunteer at Roulette!

Help us out at the box office and see the show for free.

Email volunteer@roulette.org

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SEPT 26 Music of Rocco DiPietro

Ben Neill’s Fantini Futuro

JD Parran’s Harlem Reunion

Amir Bey & JD Parran: Elevated Moon

NOV 7

DEC 5

Frances White

Momenta Quartet

Elizabeth Brown

INTERPRETATIONS SEASON 31 | 2019-2020

APR 9 Thomas Buckner sings music by Earl Howard, Pauline Kim, and JD Parran & Thomas Buckner

MAY 7

Melanie Genin

ROULETTE

509 Atlantic Ave Brooklyn NY. All Concerts begin Thursday at 8:00pm.

Ensemble L’Art Pour L’Art $20: General $15: Members, Students, Seniors.

INTERPRETATIONS.INFO, ROULETTE.ORG