Friday, October 13, 2023
Jimmy Angelina's LAST COLORING BOOK Artwork at Gallery 30 South
Wednesday, May 18, 2022
LOCKDOWN CORRESPONDENCES by Bill Shute available from KSE
A Wyatt Doyle photograph adorns Bill Shute's latest collection, Lockdown Correspondences.
From Kendra Steiner Editions:
Lockdown Correspondences contains three book-length poems: Tomorrow Won't Bring the Rain, Complementary Angles, and Two Self-Portraits (After Murillo), all written and originally published during the COVID lockdown (2020–2021), combined in one hardcover volume.
"These three works were published independently in 2020 and 2021 and have been well-received, though I myself never thought of them as any kind of trilogy or any unified series of works. However, a number of readers (I've gotten at least a dozen e-mails and texts on this subject) have suggested to me that I should consider combining the three pieces into one book, presented as a document of the pandemic/lockdown, and they argued that there is a consistency within the images/content and form/structure which is perhaps clearer to the reader-consumer than it was to the writer-creator. They also suggested that readers looking for literary responses to the pandemic, now that it is more in the rearview mirror with each passing day, would locate these works more easily in the literary marketplace if they were marketed as 'pandemic poems' in a more obvious manner. I'm certainly happy to oblige, and thus Lockdown Correspondences was created (and this combined volume costs less than the three individual volumes, while also being hardcover). It is also an excellent one-volume introduction to the post-2016 phase of my poetry."
The cover photograph is an original work by Wyatt Doyle of New Texture, whose most recent book (with acclaimed visual artist Jimmy Angelina) is Be Italian!
Shute's work is rooted in the post-Projective Verse poetics of Blackburn, Berrigan, and Eigner, but completely his own. A career-spanning Selected Poems (Junk Sculpture From the New Gilded Age) was published by Moloko Print in Germany in late 2021.
His earlier poetry books include Twelve Gates to the City, Satori in Natchez, Riverside Fugue, Point Loma Purple, and Bridge on the Bayou.
He also wrote the introductory essay to the recent collection Ed Wood, Jr.: When the Topic Is Sex (Bear Manor Media), a 540-page collection of the filmmaker/author's early 1970s non-fiction pieces for adult magazines, and has been a contributor to Ugly Things magazine for 35+ years.
Shute lives and works in San Antonio, Texas.
Monday, March 1, 2021
Wyatt Doyle's "And the red death held sway over the dollar store" @ Gallery 30 South, 03/01–03/26
"Doyle’s eye and his camera’s eye capture those moments of junk-store epiphany, of accidental revelation, which lurk un-noticed in the most taken-for-granted parts of everyday run-down America." —Bill Shute, Kendra Steiner Editions
Abandoned places, decaying spaces, toys nobody wants. Things that are gone, things that remain. “And the red death held sway over the dollar store” at Pasadena’s Gallery 30 South exhibits photographs by Wyatt Doyle from his acclaimed collections Dollar Halloween, I Need Real Tuxedo and a Top Hat!, Buty-Wave Is Now Closed Forever, Jorge Amaya Doesn't Live Here Anymore, and recent work.
Photography with a narrative bent, capturing people, places, and things, from California to Tennessee and back again. Through March 26. Books and signed, limited edition prints available via the gallery. The show is available for online viewing here.
Tuesday, June 6, 2017
Jimmy Angelina & Wyatt Doyle Interviewed
We Are Cult's James Gent interviews The Last Coloring Book's Jimmy Angelina and Wyatt Doyle! Click HERE to read it.
And click HERE to buy the book. Preview what's inside below:
Read Kendra Steiner Editions' Bill Shute's thoughts on The Last Coloring Book HERE.
Thursday, May 5, 2016
Rainbow Gospel Hour on CD From Kendra Steiner Editions!

THE RAINBOW GOSPEL HOUR ... ON THE AIR! by Reverend Raymond Branch,
from Kendra Steiner Editions. KSE #335 (CD-R album)
$8 US postpaid / $12.00 elsewhere postpaid
Send payment via PayPal to django5722(at)yahoo(dot)com
“If I can help somebody as I pass along... If I can cheer somebody with a word or song... If I can show somebody he's traveling wrong... Then my living shall not be in vain.”*
FOR YEARS, Reverend Raymond Branch of the Heavenly Rainbow Baptist Church in South Los Angeles spent Sundays after services traveling to local rest homes and hospitals. Together with his wife Jean, they’d sing and pray, offering comfort and fellowship as they visited as many forgotten members of the community as the day allowed. Feeling called to do more but unsure how, inspiration struck when Rev. Branch noticed the one thing each of the people they visited kept at their bedside: a radio.
And so, in 1971, he began leasing the 3 a.m. timeslot on Inglewood’s KTYM-AM each Sunday morning (after midnight, the station diminished their signal, and rates were cheaper), and The Rainbow Gospel Hour was born, with most installments opening with the dedication:
“This program is designed for the sick and shut-in—in the sanitariums, hospitals, and penal institutions. We want you to know that we love you! And we care for you.”
At first, the show was recorded live in the KTYM studio, where he was usually accompanied by Jean.
“She would be with me when I’d be (rehearsing) at the house, before we went to the studio. Then, when we were at the studio, she’d be right there singing.” When the late-night schedule began to take a toll, they switched from live to prerecorded programs, with Rev. Branch providing cassette tapes to the station.
A barber by trade—and for decades concurrent with his community service, a barber by profession—Rev. Branch endeavored to keep business separate from his ministry, and today he remains a man of modest needs. A place of refuge, not judgment or dogma, the Heavenly Rainbow has always handed out more than it’s taken in, and Rev. Branch has never sought tax-exempt status for himself or the church. Though the Rainbow Gospel Hour enjoyed occasional sponsorship by local businesses over its four-decade run, most of the show’s broadcasts were financed entirely by Rev. Branch.
He put the shows together working with what he had. Initially a guitarist, he’d plug in and play and sing into a dual cassette boom box’s built-in mic, sometimes joined by Jean (she can be heard accompanying her husband on “It’s No Secret What God Can Do” and “Milky White Way”), sometimes joined by guests and members of his small congregation (“the faithful few”). He’d piece each show together on cassette and submit it for broadcast. Then he’d reuse those cassettes, using the dual deck to cut in and out, sometimes abbreviating and lengthening performances by recording new verses onto the tape, patching in relevant announcements and prayer requests by taping over outdated ones, and dropping in performances from other tapes. No masters were preserved, and tapes might be reused this way again and again over the years, resulting in sonic irregularities, volume jumps, and bleed-through mutations that, over time, became part of the aural texture of the broadcasts. While some adjustments have been made for this release in order to provide a consistent listening experience, this disc provides an otherwise accurate presentation of the broadcast as it aired.
The program saw changes in Rev. Branch’s choice of instruments during its long history.
“I started off in 1971 at the studio with the guitar. Then when I contracted arthritis real bad in my fingers, I couldn’t play the guitar anymore. So I went and got me an Omnichord, and I played that. I was playing the guitar and the Omnichord for a while, but my fingers were going bad. It had to be in the ‘80s—82 or 84—that I started putting the guitar down.”
The Omnichord introduced a traditional church organ sound to his recordings, but around 1997, a neighbor expressed interest in learning to play it. Rev. Branch passed down his Omni, and replaced it with a QChord, a similar instrument that lends an ethereal character to his music. This disc includes music from each of those periods.
This broadcast is also notable for the inclusion of a trio of lively duets with Roland Payne. But the energy, spirit, and palpable joy evident in the performances stands in contrast to the two men’s poignant history: Payne was a childhood friend from the rough-and-tumble backwater of Bayou Black, Louisiana, where he and Rev. Branch made up half of a young gospel quartet, calling themselves Branch Brothers. “Roland,” he explains, “was just like my brother.”
“I fought for Roland. A lot of guys tried to fight Roland; he couldn’t fight good, physically. I was a fast fighter. Even when I wasn’t sure I could whip ’em, I’d whip ’em anyway! When somebody messed with him, he came to me. I took care of him. That’s just how close we was.
“Roland always wanted to be a preacher. He was raised by his grandfather; his grandfather was a minister. When he came to California, I had been here two or three years. I left Louisiana and came here in 1949. Roland came here about ’52 or ’53.
“He always went to other churches. I believe that Roland was thinking that I was trying to be a preacher because he was trying to be a preacher.
“He should have been a minister when I became a pastor, but he didn’t come and work with me. He had got to a place where he was doing sinful things. I’d call him out about it, and he’d get shook up. That’s why he and I weren’t as close as we should have been, later.
“After we went down the line,” Rev. Branch says today, “I misplaced Roland.”
“But I remember he came by one Sunday—I think we did that right in the church, those three songs. He was visiting, and I taped three songs and put them on the radio.”
The Rainbow Gospel Hour ceased broadcasting in 2014, when KTYM was sold and a format change was announced. Despite the program’s historic four-decade run, the broadcast ended without fanfare. Attendance at the Heavenly Rainbow has fallen off, as former congregants pass on or shift allegiances to bigger, glossier houses of worship that now dominate the landscape. But Rev. Branch’s commitment to his ministry remains undiminished, and he maintains daily hours at the church building while continuing to offer a musical service each Sunday, where all are made welcome.
“I feel like God can do anything. If a guy is rich in money, and you’re rich in believing, you’re just as rich as that guy. There’s richness on the Devil’s side, and there’s richness on God’s side. I prefer being poor and loving God to being rich and loving the Devil.”
Twice a widower at 85, times are tougher than ever for Rev. Branch. But it’s never an easy road for those who choose to sincerely heed the call to service, and Rev. Branch has known tough times since he was a child on Bayou Black.
“When they were fighting and cutting and shooting, I was sitting in the corner, looking in the sky, trying to find out where God was.”
* From the hymn, “If I Can Help Somebody” and quoted by Martin Luther King Jr., in his sermon “The Drum Major Instinct,” delivered at Ebenezer Baptist Church in February 1968.
CD TRACK LISTING
1. Station Introduction
2. It’s No Secret What God Can Do
3. Welcome
4. The Lord Will Make a Way Somehow (w/Brother Roland Payne)
5. Hebrews 11/Psalm 27
6. On the Right Road Now (w/Brother Roland Payne)
7. I Want My Crown
8. Remember Me
9. Precious Lord, Take My Hand
10. Sponsor’s Message
11. Is It Well With Your Soul?
12. I Must Tell Jesus All About My Troubles
13. The Lord Will Make a Way Somehow (solo QChord)
14. The Lord Will Make a Way (Yes He Will) (w/Brother Roland Payne)
15. Step by Step
16. Waiting for Me
17. So Soon
18. I Have a Radio Television in My Heart
19. I Just Can’t Keep It to Myself
20. When the Saints Go Marching In
21. You’ve Got to Take Time Out
22. Sponsor’s Message
23. Dedication
24. I’m Troubled
25. Milky White Way
26. I Want to Be Loved
27. Closing/Ten Commandments of Maturity
Some of these songs were rerecorded for Rev. Branch’s 2015 CD, I’ve Got Heaven on My Mind. For Rev. Branch’s thoughts on those songs, follow this link to read that album’s liner notes: http://bit.ly/RevB_Heaven
Monday, January 4, 2016
Kendra Steiner Editions Features Wyatt Doyle's Photos
"One of the qualities I admire most in Wyatt Doyle’s work is his eye for the unexpected juxtapositions of detail among the seemingly mundane, juxtapositions of detail that provide a window of insight into life, into society, into truth. This quality is as strong in his fiction as it is in his photography."
—Bill Shute, Kendra Steiner Editions
A selection of Wyatt Doyle's photos is showcased as part of the Visual Art Spotlight series on Kendra Steiner Editions' site, here. Wyatt's photos have previously been featured on the covers of the KSE releases Dusk With Carol by Doug Draime and the CD Modern Architecture by FOSSILS.
Thanks to Bill Shute and KSE for the honor!
Monday, September 1, 2014
“Exceptionalism and Empire”: Bill Shute’s WORRIED MEN AND WOODEN SOLDIERS
Worried Men and Wooden Soldiers (Selected 2013-14 Poems)
Bill Shute
Kendra Steiner Editions CD
the gun store's expanding
while
the cupcake store's
had to start
selling lotto tickets
& offering high-interest
car title loans
to those
who've fallen off
the merry-go-round
at the Pleasure Pier
I’m consistently impressed with releases from Kendra Steiner Editions, and the work of the artist behind the imprint, Bill Shute. Worried Men and Wooden Soldiers, his latest audio release, features seven poems from 2013-14, read by the poet.
As a reader, Shute employs an unhurried, sedate tone of voice, eschewing theatricality for a measured delivery. Across seven poems, he weighs questions of progress, process, and presentation; security and insecurity; systems of control, the compulsion to quantify the creative impulse, and war all the time.
In an era defined by wait-and-see passivity and lives lived at a remove, something as intrinsic to our makeup as engagement has somehow become a thing to be avoided, even suspect. The poems of Worried Men and Wooden Soldiers are rooted in an understanding that empathy and humanity are essential not because they are pleasant notions or worthy moral positions, but because they afford the greatest opportunity to engage with the world as it is.
Thursday, January 9, 2014
KSE's Bill Shute Reviews STOP REQUESTED
Click here to read the full essay, and click here for a list of available KSE music and poetry.
Thursday, May 30, 2013
Doug Draime's DUSK WITH CAROL
Kendra Steiner Editions proudly presents the newest poetry chapbook from legendary West Coast poet Doug Draime, Dusk With Carol (KSE #250). 16 new poems from a contemporary master. Cover photo by New Texture's Wyatt Doyle.
Dusk With Carol is $6.00 ppd. ($7.00 ppd. outside the US). PayPal django5722(at)yahoo(d0t)com
KSE's Bill Shute:
"Doug and I had talked initially about doing a collection of love poems, but later felt that the love poems would have more impact if they were peppered throughout the collection, the way love is peppered throughout life—we have many other immediate needs and responsibilities, but love stays in the background much of the time, rearing its head on occasion for those ecstatic moments that make the other moments tolerable. So keeping the four key love poems, we sifted through about fifty other recent pieces of Doug’s and selected twelve others in different styles and on different themes to provide a rich and diverse collection.
"It’s a strong collection from one America’s most essential poets, and at 14 pages, it’s the longest-ever KSE poetry chapbook."
like a scream of a foaming Colossus
a picture of hammering sound
a laughing, dancing crowd without a center
a floating red door with big red bullet holes
a maze of perfect snowstorms
a crease folded through the streets of Cleveland
a monkey with the face of Nero
a floor that has no bottom
a cloth of stones, blanket of splinters
a madrone tree spurting from a cloud
a tender moment caught in a steel trap
a preposterous flag waving for blown apart bloody
bodies
a breathing, murdering Mind denying it is
a camel running backwards in the halls of Congress
a dotty child older than his great-great grandfather
a fragment from a fragment from a fragment from
an impossible death that has no home in anything
that lives
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