White Bicycles: Making Music in the 1960S Ebook
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MUSIC 351: Psychedelic Rock of the 1960S Spring 2015, T 7:00–9:40 P.M., ENS-280
MUSIC 351: Psychedelic Rock of the 1960s Spring 2015, T 7:00–9:40 p.m., ENS-280 Instructor: Eric Smigel ([email protected]) M-235, office hours: Mondays & Tuesdays, 3:00–4:00 p.m. This is a lecture class that surveys psychedelic rock music and culture of the 1960s. Psychedelic music played an important role in the development of rock music as a predominant art form during one of the most formative decades in American history. Emerging along with the powerful counterculture of hippies in the mid-1960s, psychedelic rock reflects key elements of the “Love Generation,” including the peace movement, the sexual revolution, the pervasive use of recreational drugs (especially marijuana and LSD), and the growing awareness of Eastern philosophy. The main centers of countercultural activity—the Haight-Ashbury district of San Francisco and the London Underground—drew a high volume of media exposure, resulting in the famous “Summer of Love” and culminating in popular music festivals in Monterey, Woodstock, and Altamont. Students in this course will examine the music and lyrics of a selection of representative songs by The Grateful Dead, The Jefferson Airplane, Big Brother and the Holding Company, The Beatles, Pink Floyd, The Jimi Hendrix Experience, and other bands closely associated with the burgeoning psychedelic scene. Students will also consult primary source material—including interviews with several of the musicians, influential literature of the period, and essays by key figures of the movement—in order to gain insight into the social, political, -
Caryl Churchill …………………………………
UNIVERSITÀ DEGLI STUDI DI VERONA DIPARTIMENTO DI CULTURE E CIVILTÀ SCUOLA DI DOTTORATO DI SCIENZE UMANISTICHE DOTTORATO DI RICERCA IN STUDI FILOLOGICI, LETTERARI E LINGUISTICI XXXI CICLO / 2015 TITOLO DELLA TESI DI DOTTORATO A Map of the World The 4-Way Street of British Political Theatre 1968-1985 S.S.D. L-ART/05 DISCIPLINE DELLO SPETTACOLO Coordinatore: Prof. Paolo Pellegrini Tutore: Prof. Nicola Pasqualicchio Dottorando: Dott. Carlo Vareschi Contents Abstract ……………………………………………………….. p. 3 Introduction .....……………………………………………….. p. 5 Chapter 1 CAST ……………………………………………… p. 17 1.1 In the Beginning there was CAST (p. 18); 1.2 Rebels with a Cause (p. 21); 1.3 Revolutionaries on a State Pay-Roll (p. 49); 1.4 The Rise and Fall (p. 82); 1.5 The End (p. 93) Chapter 2 David Edgar ……………………………………… p. 107 2.1 Public Theatre in a Private Age (p. 108); 2.2 A Belief in Collaborative Production (p. 109); 2.3. An Aspiration to a Wider Audience (p. 113); 2.4 An Open Attitude to Form (p. 115); 2.5 A Concern with the Public World (p. 120); 2.6 Unlike Arnold Wesker or Brendan Behan (p. 123); 2.7 Unlike Bond, Arden and Brecht (p. 124); 2.8 Unlike Shaw (p. 125); 2.9 Dick Deterred (p. 127); 2.10 Destiny (p. 144); 2.11 Our Own People (p. 155) Chapter 3 Caryl Churchill ………………………………….. p. 173 3.1 Far from the Madding Crowd (p. 178); 3.2 Churchill’s Newspeak (p. 188); 3.3 Sometimes it’s Hard to be a Woman (p. 192); Snakes and Ladders (p. 211) Chapter 4 Howard Barker …………………………………. -
An Analysis of John Peel's Radio Talk and Career At
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2008 The Power of a Paradoxical Persona: An Analysis of John Peel’s Radio Talk and Career at the BBC Richard P. Winham University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Communication Commons Recommended Citation Winham, Richard P., "The Power of a Paradoxical Persona: An Analysis of John Peel’s Radio Talk and Career at the BBC. " PhD diss., University of Tennessee, 2008. https://trace.tennessee.edu/utk_graddiss/440 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Richard P. Winham entitled "The Power of a Paradoxical Persona: An Analysis of John Peel’s Radio Talk and Career at the BBC." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Communication and Information. Paul Ashdown, Major Professor We have read this dissertation and recommend its acceptance: Barbara Moore, Naeemah Clark, Michael Keene Accepted for the Council: -
Aliens, Afropsychedelia and Psyculture
The Vibe of the Exiles: Aliens, Afropsychedelia and Psyculture Feature Article Graham St John Griffith University (Australia) Abstract This article offers detailed comment on thevibe of the exiles, a socio-sonic aesthetic infused with the sensibility of the exile, of compatriotism in expatriation, a characteristic of psychedelic electronica from Goatrance to psytrance and beyond (i.e. psyculture). The commentary focuses on an emancipatory artifice which sees participants in the psyculture continuum adopt the figure of the alien in transpersonal and utopian projects. Decaled with the cosmic liminality of space exploration, alien encounter and abduction repurposed from science fiction, psychedelic event-culture cultivates posthumanist pretentions resembling Afrofuturist sensibilities that are identified with, appropriated and reassembled by participants. Offering a range of examples, among them Israeli psychedelic artists bent on entering another world, the article explores the interface of psyculture and Afrofuturism. Sharing a theme central to cosmic jazz, funk, rock, dub, electro, hip-hop and techno, from the earliest productions, Israeli and otherwise, Goatrance, assumed an off-world trajectory, and a concomitant celebration of difference, a potent otherness signified by the alien encounter, where contact and abduction become driving narratives for increasingly popular social aesthetics. Exploring the different orbits from which mystics and ecstatics transmit visions of another world, the article, then, focuses on the socio- sonic aesthetics of the dance floor, that orgiastic domain in which a multitude of “freedoms” are performed, mutant utopias propagated, and alien identities danced into being. Keywords: alien-ation; psyculture; Afrofuturism; posthumanism; psytrance; exiles; aliens; vibe Graham St John is a cultural anthropologist and researcher of electronic dance music cultures and festivals. -
Out of the Ordinary (A870) Lot
Out of the Ordinary (A870) Tue, 11th Feb 2020 Viewing: 7 February 2020, 9am - 5pm 9 February 2020, 10am - 1pm 10 February 2020, 9am - 5pm 11 February 2020, from 9am Removal of Lots All lots should be removed by 5pm on Friday 21 February 2020. Selected lots remaining after this date will be removed to: Perry Removals, Chapel End, Broxted, Essex CM6 2BW. Removal will be at a cost of £20 per lot and storage will be charged at £2 per lot, per day. Lot 298 Estimate: £400 - £600 + Fees MIDDLE EARTH CLUB, MIDDLE EARTH CLUB, 1960s, a rare psychedelic poster for the Middle Earth Club titled 'A TRIP TO MIDDLE EARTH' with the names Marc Tracy and Paul Bennett included in the poster design, by Forposter design Printed by BSB ken 426, 50 x 76cm Middle Earth was a hippie club in London, in the mid-to-late 1960s. It was a successor to the UFO Club, which had closed down due to police pressure and the imprisonment of its founder, John Hopkins. Nights at Middle Earth were normally hosted and arranged by the DJ and promoter Jeff Dexter. Groups that played there included Pink Floyd, The Who, the Jimmy Page-era Yardbirds, Roy Harper, The Crazy World of Arthur Brown, July, The Bonzo Dog Doo-Dah Band, David Bowie's folk trio Feathers, The Move, The Pretty Things, Fairport Convention and Jefferson Airplane, Eric Burdon and Captain Beefheart. The Byrds also played here twice with Gram Parsons. The main groups playing on a regular basis were Soft Machine, Tomorrow, Sam Gopal's Dream, Tyrannosaurus Rex with Marc Bolan and Steve Peregrin Took, Social Deviants, the pre-Yes Mabel Greer's Toyshop and the Graham Bond Organisation who were a regular visitor and performer. -
42001 Sworders OOTO 11 Feb.Pdf
OUT OF THE ORDINARY at the Stansted Mountfitchet Auction Rooms Tuesday 11 February 2020 at 10am ORDER OF SALE Lots 1 - 27 All the Fun of the Fair Lot 28 - 36 Precious Things Lots 37 - 84 Witches & Monsters Lots 85 - 126 Folk Art Lots 127 - 161 Stranger Things Lots 162 - 185 Lights, Camera, Action Lots 186 Easy Rider Lots 187 - 195 Light Fantastic Lots 196 - 226 After Death Lots 227 - 238 Fifty Shades... Lots 239 - 284 Life on Earth Lots 285 - 292 Call a Doctor Lots 293 - 297 Corpus Christi Lots 298 - 306 Counter Culture Lots 307 - 309 North Korea Lots 310 - 315 Live Aid 1985 Lots 316 - 320 Extinct Lots 321 - 326 Harry Potter Lots 327 - 351 War and Peace Lots 352 - 377 An Architectural Eye Lots 378 - 402 Contemporary and Modern Lots 403 - 408 Gabriel Summers Lots 409 - 420 Planes, Trains and Automobiles Lots 421 - 461 Stranger Things Lots 462 - 491 Gastronomy VIEWING TIMES Friday 7 February 9am - 5pm Sunday 9 February 10am - 1pm Monday 10 February 9am - 5pm Tuesday 11 February From 9am To obtain more images and condition reports for lots in this catalogue, please visit our website www.sworder.co.uk Auction highlights are on view at our London office FURTHER INFORMATION Wednesday 22 January - Monday 3 February Sworders Auctioneers Tel: 01279 817778 15 Cecil Court, London WC2N 4EZ Email: [email protected] Telephone: 0203 971 2500 | [email protected] Contact: ONLINE BIDDING Bid live at www.sworder.co.uk (0% surcharge) REMOVAL OF LOTS All lots should be removed by 5pm on Friday Mark Wilkinson Alex Hallet Errol Fuller 21 February 2020. -
Representation of 1980S Cold War Culture and Politics in Popular Music in the West Alex Robbins
University of Portland Pilot Scholars History Undergraduate Publications and History Presentations 12-2017 Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West Alex Robbins Follow this and additional works at: https://pilotscholars.up.edu/hst_studpubs Part of the European History Commons, Music Commons, Political History Commons, and the United States History Commons Citation: Pilot Scholars Version (Modified MLA Style) Robbins, Alex, "Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West" (2017). History Undergraduate Publications and Presentations. 7. https://pilotscholars.up.edu/hst_studpubs/7 This Thesis is brought to you for free and open access by the History at Pilot Scholars. It has been accepted for inclusion in History Undergraduate Publications and Presentations by an authorized administrator of Pilot Scholars. For more information, please contact [email protected]. Time Will Crawl: Representation of 1980s Cold War Culture and Politics in Popular Music in the West By Alex Robbins Submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in History University of Portland December 2017 Robbins 1 The Cold War represented more than a power struggle between East and West and the fear of mutually assured destruction. Not only did people fear the loss of life and limb but the very nature of their existence came into question. While deemed the “cold” war due to the lack of a direct military conflict, battle is not all that constitutes a war. A war of ideas took place. Despite the attempt to eliminate outside influence, both East and West felt the impact of each other’s cultural movements. -
London Calling: a Countercultural History of London Since 1945 Pdf, Epub, Ebook
LONDON CALLING: A COUNTERCULTURAL HISTORY OF LONDON SINCE 1945 PDF, EPUB, EBOOK Barry Miles,Ghost | 480 pages | 01 Mar 2010 | ATLANTIC BOOKS | 9781843546139 | English | London, United Kingdom London Calling: A Countercultural History of London Since 1945 PDF Book Want to discuss real-world problems, be involved in the most engaging discussions and hear from the journalists? Community Reviews. Order by newest oldest recommendations. This website uses cookies to help us give you the best experience when you visit our website. Close drawer menu Financial Times International Edition. Many of the bohos he encountered had been behaving badly around town for a couple of decades. He also reveals how artists would cynically boost their profiles - Vivienne Westwood slapping a girl at a Sex Pistols gig because she was bored, and the writer Colin Wilson sleeping on Hampstead Heath to cement his reputation as an early Angry Young Man. In London Calling , Barry Miles explores the counter-culture - creative, avant garde, permissive, anarchic - that sprang up in this great city in the decades following the Second World War. Trial Try full digital access and see why over 1 million readers subscribe to the FT. The Club Scene. Nov 13, J. The Trial of. But unlike some others in that scene, Miles was always interested in the general history of alternative culture: in the Sixties he read widely on the Beats who had preceded him and he became close friends with many of them , and even after the Sixties passed he sought to keep abreast of new developmen Barry Miles was a major figure in the London counterculture in the s, involved in such legendary things as the Indica bookshop, the underground newspaper International Times, and the UFO Club. -
Barrett Vol 1.Pdf
Introduction usician, psychedelic explorer, eccentric, cult icon – Roger “Syd” Barrett was many things to many people. Created in conjunction with the Barrett family and The Estate of Roger Barrett, who have provided unprece- dented access to family photographs, artworks, and mem- Mories, Barrett offers an intimate portrait of the Syd known only to his family and closest friends. Previously unseen photographs taken on seaside holidays and other family occasions show us a happy and loving young man, smiling energetically in images that map his early life, from childhood through his teenage years. Along with newly available photos from the album cover shoots for The Madcap Laughs and Barrett (taken by Storm Thorgerson and Mick Rock) they reveal the positive energy of a grinning Syd as he fools about in front of the camera. We are offered a rare glimpse of one who was immensely popular among friends and contemporaries. Also contained within these pages are recently unearthed images of Pink Floyd in which we see Syd practising handstands, making muscle-man poses, and having fun. The other members of Floyd lark about too – a fledgling young band enjoying itself with a sense of real camaraderie. The images transport one back in time to 166–67: the London Free School gigs, the launch of International Times at the Roundhouse, the UFO club, the band’s first European dates. There are photos of Syd and Floyd at numerous locations and events, giving a real sense of what it must have been like to be there as the infant light shows, experimentation, and collective spirit of the time emerged, grew, and flourished in the psychedelic hothouse that was the late 160s. -
1967: a Year in the Life of the Beatles
1967: A Year In The Life Of The Beatles History, Subjectivity, Music Linda Engebråten Masteroppgave ved Institutt for Musikkvitenskap UNIVERSITETET I OSLO November 2010 Acknowledgements First, I would like to express my gratitude towards my supervisor Stan Hawkins for all his knowledge, support, enthusiasm, and his constructive feedback for my project. We have had many rewarding discussions but we have also shared a few laughs about that special music and time I have been working on. I would also like to thank my fellow master students for both useful academically discussions as much as the more silly music jokes and casual conversations. Many thanks also to Joel F. Glazier and Nancy Cameron for helping me with my English. I thank John, Paul, George, and Ringo for all their great music and for perhaps being the main reason I begun having such a big interest and passion for music, and without whom I may not have pursued a career in a musical direction at all. Many thanks and all my loving to Joakim Krane Bech for all the support and for being so patient with me during the course of this process. Finally, I would like to thank my closest ones: my wonderful and supportive family who have never stopped believing in me. This thesis is dedicated to my grandparents. There are places I'll remember All my life though some have changed. Some forever not for better Some have gone and some remain. All these places have their moments With lovers and friends I still can recall. Some are dead and some are living, In my life I've loved them all. -
Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 A Dissertation Presented by Jason James Hanley to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philsophy in Music (Music History) Stony Brook University August 2011 Copyright by Jason James Hanley 2011 Stony Brook University The Graduate School Jason James Hanley We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Judith Lochhead – Dissertation Advisor Professor, Department of Music Peter Winkler - Chairperson of Defense Professor, Department of Music Joseph Auner Professor, Department of Music David Brackett Professor, Department of Music McGill University This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 by Jason James Hanley Doctor of Philosophy in Music (Music History) Stony Brook University 2011 The British band Throbbing Gristle first used the term Industrial in the mid-1970s to describe the intense noise of their music while simultaneously tapping into a related set of aesthetics and ideas connected to early twentieth century modernist movements including a strong sense of history and an intense self-consciousness. This model was expanded upon by musicians in England and Germany during the late-1970s who developed the popular music style called Industrial as a fusion of experimental popular music sounds, performance art theatricality, and avant-garde composition. -
00 Prelims - Ch 10:00 Prelims -10 05/06/2017 10:03 Page I
00 prelims - ch 10:00 prelims -10 05/06/2017 10:03 Page i RECORD AND FILM PRODUCER JOE BOYD was born in Boston in 1942 and graduated from Harvard in 1964. He went on to produce Pink Floyd, Nick Drake, Fairport Convention, REM and many others. He produced the documentary Jimi Hendrix and the film Scandal . In 1980 he started Hannibal Records and ran it for 20 years. Joe Boyd lives in London. His podcast, ‘Joe Boyd’s A-Z’, and links to his talks and radio shows can be found at www.joeboyd.co.uk. He is currently working on a book about ‘world music’. White Bicycles received the 2007 Deems Taylor ‘Music Book of the Year’ award and has been published in seven foreign- language editions. praise for White Bicycles ‘As a memoir of the enchanted ’60s, White Bicycles is among the elite. It isn’t just that Boyd was among the era’s movers and shakers, he has a rare recall of events… and a fluid, engaging style. The book bristles with evocative anecdotes… exhilarating’ Observer Music Monthly ‘One of the most lucid and insightful music autobiographies I’ve read’ Michel Faber, Guardian ‘Terrific… This engaging and readable book is an important addition to the history of its time’ Hanif Kureishi, New Statesman ‘A rock memoir that shuns the usual ’60s clichés… while providing insightful character studies of Brit-folk’s future stars… refreshing and cleverly observed’ Uncut ‘Among the musical anecdotes are thoughtful observations on the era… Boyd remains a true believer, for whom it was a joy to have been alive in that permissive dawn.