Aspen Arete is a V4 YDS boulder, alpine, 12 ft (4 m) located in Georgetown > Guanella Pass > 7 Mile Boulders > Aspen Boulder. First ascent by ??. Start in a broken seam, and make a couple tough moves to get up and onto the arete. Protection: This ascends the obvious arete on the boulder.
Aspen Arete Sit is a V6- YDS boulder, alpine, 12 ft (4 m) located in Georgetown > Guanella Pass > 7 Mile Boulders > Aspen Boulder. First ascent by unknown. Sit start on a sharp left hand crimp/sidepull and right hand sidepull (both below the roof). Work towards the broken seam start of Aspen Arete, and continue up the arete. Protection: 1 pad.
Aspen Busy is a V4+ YDS boulder, alpine, 15 ft (5 m) located in Georgetown > Guanella Pass > 7 Mile Boulders > Aspen Boulder. First ascent by Chad Cowan?. Aspen Busy is a decent climb which adds moves to the arete. Itcould possibly be extended further left. It is a good climb if you have some people just stepping into the moderate arena. There are decent moves to practice. Protection: Start on the obvious jug at chest height that's about 6 feet left of the arete. Make some awkward moves low to gain the broken seam around the aerie, make some difficult bumps, and then cruise up the arete.
60 miles of free cross country ski and snowshoe trails between Aspen, Snowmass, and Basalt Colorado.
60 miles of free cross country ski and snowshoe trails between Aspen, Snowmass, and Basalt Colorado.
Discover Aspen Highlands, one of the premier four mountains of Aspen Snowmass. Explore the Highland Bowl, Cloud Nine bistro, and more to plan your visit.
Discover Aspen Highlands, one of the premier four mountains of Aspen Snowmass. Explore the Highland Bowl, Cloud Nine bistro, and more to plan your visit.
The Chris Klug Foundation is a proud partner of Realbuzz and enjoys offering runners the opportunity to take on marathons and half marathons around the world. CKF runners have the opportunity to take on marathons such as the Tokyo, Berlin, and Miami marathons, among others. The Chris Klug Foundation uses the funds raised to make a difference and eliminate the wait for a transplant. Founded in October 2003 by Olympic Bronze Medalist and liver transplant recipient Chris Klug, CKF aims to promote lifesaving organ, eye, and tissue donation and work to improve the quality of life for those touched by transplantation. CKF uses the stories of organ donors, transplant candidates, and transplant recipients to inspire, alongside events, school courses, and webinars to educate. All with the end goal of encouraging individuals to give the gift of life and register as organ donors.
The Chris Klug Foundation is a proud partner of Realbuzz and enjoys offering runners the opportunity to take on marathons and half marathons around the world. CKF runners have the opportunity to take on marathons such as the Tokyo, Berlin, and Miami marathons, among others. The Chris Klug Foundation uses the funds raised to make a difference and eliminate the wait for a transplant. Founded in October 2003 by Olympic Bronze Medalist and liver transplant recipient Chris Klug, CKF aims to promote lifesaving organ, eye, and tissue donation and work to improve the quality of life for those touched by transplantation. CKF uses the stories of organ donors, transplant candidates, and transplant recipients to inspire, alongside events, school courses, and webinars to educate. All with the end goal of encouraging individuals to give the gift of life and register as organ donors.
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Celebrate the first Saturday in March with the cool sounds emanating from the guitars of Kaki King. Soothing, meditative, at times energetic, you're going to enjoy this. So invite a friend or three and be present for this moment. It's gonna be a long week. You deserve this. Kaki King (born 24th August 1979 as Katherine Elizabeth King) is an American guitarist and singer from Atlanta, Georgia. When Kaki King went into the studio in upstate New York to record the tracks for her fourth album, Dreaming Of Revenge, her producer, Malcolm Burn, had one condition: “He said, ‘If someone can’t be sawing a log in half and whistling along to the song, I don’t want it on the record,’” King recalls with a laugh. And so the bar was set. Burn’s mandate was just the push King needed to make her most accessible CD yet. “Even though half the tracks are instrumentals, I feel like I’m writing pop songs,” she says. “We really concentrated on the melodies. Everything I write tends to be dense and chordal, but this time the idea was to layer the challenging guitar work under very simple, beautiful melodies. I really wanted them to be memorable.” That strict attention to song craft is a logical step for King, whose previous album, 2006’s …Until We Felt Red propelled this dazzling young guitar player and composer, known to instrumental music fans for her finger-picking, fret-slapping, and percussive thumping style, into previously uncharted indie-rock territory. Produced by post-rock kingpin John McEntire (Tortoise, Sea and Cake), Red was filled with lush, ambient soundscapes that “sound like the abstract, dreamy, and hypnotic end of alternative rock,” as the New York Times noted in its review. Red found King branching out with songs that featured electric and pedal-steel guitar, horns, and, for the first time, vocals. Dreaming Of Revenge picks up that thread, continuing her evolution from acoustic instrumentalist to full-fledged, multi-faceted songwriter. Previously, her whispery, ethereal voice was used as mainly another element in her sonic arsenal. This time around, King put more effort into both her vocals and the lyrics she wrote for such deeply felt tracks as “Pull Me Out Alive,” “Saving Days In A Frozen Head,” “Life Being What It Is,” and “2 O’Clock,” the latter two of which she describes as break-up songs. “The words mean something now,” she says. “They’re actually telling stories.” Of course her instrumentals tell stories too. The intricate finger-picked melodies — which she and Burn often doubled and tripled with other instruments — on the airy, sexy “So Much for So Little,” (“a song I think people should make babies to,” King says) and the haunting “Can Anyone Who Has Heard This Music Really Be A Bad Person?” (which was inspired by the Oscar-winning German film The Lives of Others) convey a heavy-heartedness that feels more raw and emotional than anything King’s done before. Those tracks are balanced out by the upbeat, rhythmically layered “Montreal” and the flash-bang ear candy of “Bone Chaos In The Castle,” both of which feature King, who is the drummer on most of the record, supplying the tight, in-the-pocket grooves. “Making Dreaming Of Revenge was all about challenging myself,” King says. “And it was also about really letting go and opening myself up to a producer who I needed to just trust. I absolutely knew after the first day in the studio that Malcolm was the right man for the job.” Indeed Burn, a Grammy-Award winning musician and producer who is known for his work with Daniel Lanois, Peter Gabriel, and Emmylou Harris, was the perfect foil for King. “I went in with 11 demos and detailed notes about how each track should sound,” she recalls, “and Malcolm took one listen and said, ‘Throw that stuff away. I don’t care how you think it should sound. Just pick up a guitar right now and start playing.’ He was really adamant, because the way he works is totally spontaneous.” The process may not have unfolded the way she’d planned, but unpredictability has never been a problem for King. An Atlanta, GA, native who moved to New York in 1998 to attend New York University, she got her start busking in the subway where her dexterous playing style attracted the attention of Velour Music Group, which signed her to a management/recording deal and released her debut album Everybody Loves You in 2003. The following year, she released her second album, Legs to Make Us Longer on Epic Records. These releases coincided with what turned out to be years of incessant touring, and King has since notched headlining performances throughout the US, Canada, Europe, Japan and Australia. She’s also become something of a late-night TV darling, performing on the Late Show with David Letterman, Late Night with Conan O’Brien, and Later with Jools Holland (UK), impressing fans and critics around the world as her music explores a growing range of emotional spaces. In 2007, King branched out into film work, composing original music for several scenes in the Sean Penn-directed film Into the Wild, which also features two of her previously released songs. Her work for this film has garnered her a Golden Globe nomination for Best Original Score. In addition, she recorded two tracks for the film August Rush, in which she appears as a guitar-playing hand double. Aside from Penn, King also has a fan in Foo Fighters frontman Dave Grohl, who asked her to duet with him on “Ballad of The Beaconsfield Miners” from the Foos’ album Echoes, Silence, Patience & Grace. “To have these kinds of opportunities has been amazing,” King says. “Just to know that I can walk into a room, pick up a guitar, and play a piece of music that I’ve never heard before without days of rehearsal -- I feel good knowing that I’m being asked to do such challenging things.” Flashing forward to today, King has released three works in 2025: Tutto Passa, a 6-song EP, SEI, a full album that is the soundtrack to a performance show of the same name, and Stop Sometime, a 4-song EP. Shows throughout the United States and Europe continue to take up Kaki's time, as does her work with GLITCH around a new children's show called BUGS, which is touring parts of the U.S. throughout late-2025 and early-2026. If you get a chance to experience Kaki King live, do it. You'll be glad you did.
WHAT IS BUGS? Created by Kaki King and Glitch, this multimedia show for young audiences incorporates Kaki King’s signature guitar projection mapping and drum-triggered effects into a fun-filled story of bugs, beetles, critters, and all things sugar. In BUGS, audiences experience magically synched visuals, emotionally rich music, playful effects, as well as multiple kinds of recorded insect sounds. BUGS is engaging and interactive, encouraging audiences to participate and dance along. They are invited to shout out their favorite bug, dance like one of the insect characters jiggling around on the guitar, and feel the freedom to interact with Kaki and glow in their own discovery processes. The visual world created by GLITCH incorporates video and imagery of insects, spiders and other invertebrates – along with melting ice cream, friendly characters, bundles of candy, exploding lego jelly, bouncing toys, and more. The audio experience combines King’s live guitar performance, sound samples, and field recordings from nature – all triggered in real time. Adults will enjoy the rich, unique audio-visual experience and sophisticated music. The show is intended both for children and anyone who is a child at heart! COMMISSIONING PARTNERS The La Jolla Music Society is the lead co-commissioner for Kaki King’s BUGS, and hosted a residency and performance series of BUGS in the spring of 2024. The Harris Theater in Chicago is also a co-commissioner, presented a performance of BUGS in November, 2024.
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When Kaki King went into the studio in upstate New York to record the tracks for her fourth album, Dreaming Of Revenge, her producer, Malcolm Burn, had one condition: "He said, 'If someone can't be sawing a log in half and whistling along to the song, I don't want it on the record,'" King recalls with a laugh. And so the bar was set. Burn's mandate was just the push King needed to make her most accessible CD yet. "Even though half the tracks are instrumentals, I feel like I'm writing pop songs," she says. "We really concentrated on the melodies. Everything I write tends to be dense and chordal, but this time the idea was to layer the challenging guitar work under very simple, beautiful melodies. I really wanted them to be memorable."That strict attention to song craft is a logical step for King, whose previous album, 2006's ...Until We Felt Red propelled this dazzling young guitar player and composer, known to instrumental music fans for her finger-picking, fret-slapping, and percussive thumping style, into previously uncharted indie-rock territory. Produced by post-rock kingpin John McEntire (Tortoise, Sea and Cake), Red was filled with lush, ambient soundscapes that "sound like the abstract, dreamy, and hypnotic end of alternative rock," as the New York Times noted in its review.
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Louis The Child approach their music with a mixture of love and curiosity. The Chicago-bred duo’s emotional electronic music, with its moving melodies and warm sonics, is meant for feeling part of something bigger than oneself. Heartfelt songwriting about love and living in the now, combined with wildly diverse soundscapes pulling from the past and future of dance music, makes their music feel timeless yet adventurous—flowing wherever inspiration takes them. That spontaneity informs Louis The Child (Freddy Kennett and Robby Hauldren) in everything they do, from their everything-goes Playground Radio show to the more personal clothes and paintings they make at home. Most recently, it has led them to their latest project, Black Marble, an instrumental tape exploring their clubbier sensibilities. “We’re always creating a million different things,” says Kennett. Louis The Child describe the sound of Black Marble as “really dark and grimy.” Opener “Black Marble Intro” sets the tone, with clanging metallic percussion and eerie chords. The 17-track release functions less as a collection of singles and more as a seamless DJ set meant to be enjoyed in a near-pitch-black room, where the sound system is banging and sweat is dripping down the walls. The tape will be accompanied by a visual inspired by film noir and dance choreography. “I feel like watching a dancer is a fun way to accompany the music instead of crazy visuals,” Kennett says. “It’s more of a human experience that way.” Louis The Child broke out in 2015 with their debut single, “It’s Strange” featuring K.Flay, a chilled slice of electronic pop which earned major co-signs from pop royalty Taylor Swift and Lorde. After releasing their 2020 debut album, Here for Now—a vulnerable body of work about appreciating loved ones while they’re here—Louis The Child cycled back to the sounds of dance music circa 2010-2012 on their Euphoria EP (2021), a bundle of pastel-tinted complextro made to celebrate the first festivals after lockdown. The To Believe EP (2022) further flirted with more club-friendly styles while maintaining their classic drops. For every released song, many others—scrapped ideas and purely-for-the-fun-of-it sketches—were tucked away in laptop folders, presumably never to see the light of day. Rather than keep them there, Louis The Child elected instead to release the demos in mix format as a full project: Candy. The first beat tape, released in 2017, unveiled woozy hip-hop, distorted steel-drum loops, and beyond—bite-sized pieces rich with texture and color. Candy II (2020) went deeper, patching together hip-hop-indebted, hard-hitting bass music with unruly house and fuzzy acid. For both releases, Kennett and Hauldren helped create psychedelic neon visuals compiled from videos they took on their iPhones of unfurling landscapes. Candy presented an avenue for Louis The Child to show off their extensive range, but its instrumental nature also presented a challenge: “You really gotta make the sounds stand out and be interesting the whole way through,” says Kennett. “When you’re producing a song that someone’s singing over, you can make the production simple at times. But when it’s just production, it needs to be exciting. Things need to be happening.” Louis The Child started working on Black Marble while making Euphoria. “We were like, we could do a Candy III, but it just didn’t interest us to do a third of something we’ve already done,” Hauldren says. From Candy’s bright aesthetic, the duo ran in the opposite direction: black and white. Despite Black Marble’s stark contrast and darker, heavier sounds, Louis The Child are still reaching for music that sounds fun—think wriggling, ravey synth stabs and tropical interludes—and that ultimately fosters a communal bond. “I just want people to feel like it's music they can get down to,” Hauldren says. “In the end, I want them to have whatever personal connection feels best to them.” Like Euphoria, Black Marble pushes at the boundaries of festival-ready rave music, combining yipping moombahton and grinding electro house with big-room techno, classic 303 acid basslines, and LTC’s classic melodies and chord breakdowns—never staying in one place for too long. It’s the kind of variety that makes a good DJ set, yet it’s also reflective of the duo’s creative process. They worked on Black Marble on and off between other projects for a year and a half, letting in various influences as they came. “It’s a lot of trial and error and letting the project evolve over time,” says Hauldren. “Your subconscious does work for you,” Kennett adds. Through Black Marble, Louis The Child reaffirm their belief that no matter what they make, their music will always be a reflection of their wide-ranging interests. What they create next is simply up to how far their curiosity can take them. “It’s exciting to keep trying new things with a different approach,” Kennett says. “I see us continuing to make these projects, and I think the goal is just to enjoy every step of the way.”
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