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Girls Like Us: Linder
Linder Sterling is a British These include her 13-hour artist and performer whose NICOLE EMMENEGGER improvised dance perfor- career spans the 1970s WORDS mance piece Darktown Cake- B Manchester punk scene to Y walk and her most recent her current collaborations work, The Ultimate Form, a with Tate St. Ives and The 'performance ballet' inspired Hepworth Centre in north- at the photographed by Barbara Hepworth, fea- west England. turing dancers from North- PORTRAITS PORTRAITS ern Ballet and costumes by She has worked in a variety B arbara Pam Hogg. of mediums – from music H B Y DEVIN (as singer/songwriter/gui- Ives St. Tate Museum in epworth We met at the The Barbican B tarist for post-punk band LAIR Centre in London on a crisp Ludus) and collage (using March morning, just days a steady scalpel to splice after the opening of her first pornographic images into big retrospective at Le Musée feminist statements), to her d’Art Moderne in Paris. current durational works. Linder 18 19 Nicole Emmenegger: First off, thank you for send- Yes, I used to have this fascination for the mid-fifties. People ing through the preparatory text about you and your I know at every age seem to have this fascination about the work. It ended up being ten pages in 10-point font! culture that you were born into, climbed into. It’s your own personal etymology and you have to go back and work it Linder: How strange, I don’t even enjoy writing! out. It’s good detective work. It makes sense and how lucky for you that 1976 was such a great year. -
[T] IMRE PALLÓ
VOCAL 78 rpm Discs FRANZ (FRANTISEK) PÁCAL [t]. Leitomischi, Austria, 1865-Nepomuk, Czechoslo- vakia, 1938. First an orchestral violinist, Pácal then studied voice with Gustav Walter in Vienna and sang as a chorister in Cologne, Bremen and Graz. In 1895 he became a member of the Vienna Hofoper and had a great success there in 1897 singing the small role of the Fisherman in Rossini’s William Tell. He then was promoted to leading roles and remained in Vienna through 1905. Unfor- tunately he and the Opera’s director, Gustav Mahler, didn’t get along, despite Pacal having instructed his son to kiss Mahler’s hand in public (behavior Mahler considered obsequious). Pacal stated that Mahler ruined his career, calling him “talentless” and “humiliating me in front of all the Opera personnel.” We don’t know what happened to invoke Mahler’s wrath but we do know that Pácal sent Mahler a letter in 1906, unsuccessfully begging for another chance. Leaving Vienna, Pácal then sang with the Prague National Opera, in Riga and finally in Posen. His rare records demonstate a fine voice with considerable ring in the upper register. -Internet sources 1858. 10” Blk. Wien G&T 43832 [891x-Do-2z]. FRÜHLINGSZEIT (Becker). Very tiny rim chip blank side only. Very fine copy, just about 2. $60.00. GIUSEPPE PACINI [b]. Firenze, 1862-1910. His debut was in Firenze, 1887, in Verdi’s I due Foscari. In 1895 he appeared at La Scala in the premieres of Mascagni’s Guglielmo Ratcliff and Silvano. Other engagements at La Scala followed, as well as at the Rome Costanzi, 1903 (with Caruso in Aida) and other prominent Italian houses. -
What Questions Should Historians Be Asking About UK Popular Music in the 1970S? John Mullen
What questions should historians be asking about UK popular music in the 1970s? John Mullen To cite this version: John Mullen. What questions should historians be asking about UK popular music in the 1970s?. Bernard Cros; Cornelius Crowley; Thierry Labica. Community in the UK 1970-79, Presses universi- taires de Paris Nanterre, 2017, 978-2-84016-287-2. hal-01817312 HAL Id: hal-01817312 https://hal-normandie-univ.archives-ouvertes.fr/hal-01817312 Submitted on 17 Jun 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. What questions should historians be asking about UK popular music in the 1970s? John Mullen, Université de Rouen Normandie, Equipe ERIAC One of the most important jobs of the historian is to find useful and interesting questions about the past, and the debate about the 1970s has partly been a question of deciding which questions are important. The questions, of course, are not neutral, which is why those numerous commentators for whom the key question is “Did the British people become ungovernable in the 1970s?” might do well to balance this interrogation with other equally non-neutral questions, such as, perhaps, “Did the British elites become unbearable in the 1970s?” My reflection shows, it is true, a preoccupation with “history from below”, but this is the approach most suited to the study of popular music history. -
Razorcake Issue #25 As A
ot too long ago, I went to visit some relatives back in Radon, the Bassholes, or Teengenerate, during every spare moment of Alabama. At first, everybody just asked me how I was my time, even at 3 A.M., was often the only thing that made me feel N doing, how I liked it out in California, why I’m not mar- like I could make something positive out of my life and not just spend N it mopping floors. ried yet, that sort of thing. You know, just the usual small talk ques- tions that people feel compelled to ask, not because they’re really For a long time, records, particularly punk rock records, were my interested but because they’ll feel rude if they don’t. Later on in the only tether to any semblance of hope. Growing up, I was always out of day, my aunt started talking to me about Razorcake, and at one point place even among people who were sort of into the same things as me. she asked me if I got benefits. It’s probably a pretty lame thing to say, but sitting in my room listen- I figured that it was pretty safe to assume that she didn’t mean free ing to Dillinger Four or Panthro UK United 13 was probably the only records and the occasional pizza. “You mean like health insurance?” time that I ever felt like I wasn’t alone. “Yeah,” she said. “Paid vacation, sick days, all that stuff. But listening to music is kind of an abstract. -
Song List by Artist
AMAZING EMBARRASSONIC Song list by Artist CALIFORNIA LUV 2PAC AND DR.DRE DANCING QUEEN ABBA MAMA MIA ABBA S. O. S. ABBA BIG BALLS AC/DC HAVE A DRINK ON ME AC/DC HELLS BELLS AC/DC HIGHWAY TO HELL AC/DC LIVE WIRE AC/DC SIN CITY AC/DC TNT AC/DC WHOLE LOT OF ROSIE AC/DC YOU SHOOK ME ALL NIGHT LONG AC/DC CUTS LIKE A KNIFE ADAMS, BRYAN SUMMER OF '69 ADAMS, BRYAN DRAW THE LINE AEROSMITH SICK AS A DOG AEROSMITH WALK THIS WAY AEROSMITH REMEMBER( WALKING IN THE SAND) AEROSMITH BEAUTIFUL AGUILARA, CHRISTINA LOST IN LOVE AIR SUPPLY MOUNTAIN MUSIC ALABAMA ROOSTER ALICE IN CHAINS ONE WAY OUT ALLMAN BROS RAMBLIN MAN ALLMAN BROS SISTER GOLDEN HAIR AMERICA SHE'S HAVING MY BABY ANKA, PAUL SUGAR, SUGAR ARCHIES AINT SEEN NOTHING YET BACHMAN TURNER OVERDRIVE LET IT RIDE BACHMAN TURNER OVERDRIVE TAKIN CARE OF BUSINESS BACHMAN TURNER OVERDRIVE EVERYBODY BACKSTREET BOYS FEEL LIKE MAKIN' LUV BAD CO. GOOD LOVIN' GONE BAD BAD CO. SHOOTING STAR BAD CO. NO MATTER WHAT BADFINGER DO THEY KNOW IT'S X-MAS BAND-AID MANIC MONDAY BANGLES WALK LIKE AN EGYPTIAN BANGLES SATURDAY NIGHT BAY CITY ROLLERS IN MY ROOM BEACH BOYS FIGHT FOR YOUR RIGHT TO PARTY BEASTIE BOYS COME TOGETHER BEATLES DAY TRIPPER BEATLES HARD DAYS NIGHT BEATLES LET IT BE BEATLES HELTER SKELTER BEATLES HEY JUDE BEATLES SOMETHING BEATLES TWIST AND SHOUT BEATLES LOSER BECK JIVE TALKIN' BEE GEES www.amazingembarrassonic.com Page 1 9/30/15 AMAZING EMBARRASSONIC Song list by Artist MASSACHUSETTS BEE GEES STAYIN' ALIVE BEE GEES HEARTBREAKER BENATAR, PAT HELL IS FOR CHILDREN BENATAR, PAT HIT ME W/YOUR BEST SHOT -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Punk-rock (These are excerpts from my book "A History of Rock and Dance Music") London's burning TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The effervescence of New York's underground scene was contagious and spread to England with a 1976 tour of the Ramones that was artfully manipulated to start a fad (after the "100 Club Festival" of september 1976 that turned British punk-rock into a national phenomenon). In the USA the punk subculture was a combination of subterranean record industry and of teenage angst. In Britain it became a combination of fashion and of unemployment. Music in London had been a component of fashion since the times of the Swinging London (read: Rolling Stones). Punk-rock was first and foremost a fad that took over the Kingdom by storm. However, the social component was even stronger than in the USA: it was not only a generic malaise, it was a specific catastrophe. The iron rule of prime minister Margaret Thatcher had salvaged Britain from sliding into the Third World, but had caused devastation in the social fabric of the industrial cities, where unemployment and poverty reached unprecedented levels and racial tensions were brooding. -
BUZZCOCKS Christmas 1976. Manchester Punk Pioneers
BUZZCOCKS Christmas 1976. Manchester punk pioneers Buzzcocks formed by Howard Devoto and Pete Shelley have recorded and are just about to have phenomenal success with the groundbreaking, Spiral Scratch EP. Two months later, as the release starts to take off, Howard Devoto leaves. A quick reshuffle and Pete Shelley takes over lead vocals. Over the years, the lineups change. Only Pete Shelley and Steve Diggle remain constant members of this iconic band. The methodology remains constant too: short, sharp slices of sublime guitar punk pop music, revered by a global army of fans and vitally influential to legions of bands coming up behind. Flash-forward to 2018. Buzzcocks have been throttling back a bit, being a bit more exclusive but still very busy. The band signs their catalogue to Domino Records and announce a landmark performance of “Singles Going Steady” at the Royal Albert Hall for June 2019 with The Skids and Penetration. It looks as if Buzzcocks are going to enjoy some well deserved and high profile recognition of their contribution to British culture. On 6th December, that bright prospect is thrown into darkness with Pete's tragic and unexpected death. The Albert Hall show is recast as a tribute to Pete Shelley with remaining members Steve Diggle, Chris Remington, and Danny Farrant, joined by original band members, 'special guest' vocalists and guitarists. For now and into the future Buzzcocks will continue with Steve on lead vocals/guitar, Chris Remington on Bass, and Danny Farrant on Drums with an added guitarist. Commitments will be honoured; you can't hold a good band down. -
Punk's Division of Labour
Cadernos de Arte e Antropologia Vol. 6, No 1 | 2017 I Wanna Be Your Punk: DIY e culturas underground Design it Yourself? Punk’s Division of Labour Dr Russ Bestley Electronic version URL: http://journals.openedition.org/cadernosaa/1219 DOI: 10.4000/cadernosaa.1219 ISSN: 2238-0361 Publisher Núcleo de Antropologia Visual da Bahia Printed version Number of pages: 71-87 Electronic reference Dr Russ Bestley, « Design it Yourself? Punk’s Division of Labour », Cadernos de Arte e Antropologia [Online], Vol. 6, No 1 | 2017, Online since 01 April 2017, connection on 19 April 2019. URL : http:// journals.openedition.org/cadernosaa/1219 ; DOI : 10.4000/cadernosaa.1219 © Cadernos de Arte e Antropologia CADERNOSDESIGN IT YOURSELF? PUNK’S DIVISION OF LABOUR AA Dr Russ Bestley1 London College of Communication, United Kingdom Punk’s do-it-yourself call to arms led to a widespread adoption of the rhetoric, if not always the practice, of independence from traditional means of production. During the early period of punk’s development in the United Kingdom, a distinct division of labour can be seen in the impact of an ‘anyone can do it’ DIY ethos on a range of activities.2 hese range from live performance to the creation and manufacture of punk artifacts (clothes, posters, lyers, fanzines, records). While some of these areas ofered new opportunities for amateur producers, within more technical areas of manufacturing, including the physical production of records, do-it-yourself could only have a nominal impact. Many punk groups did not have access to sound recording technologies, and even of they did, they would have to hand over the cutting and pressing of vinyl to a professional outit. -
Buzzcocks the Peel Sessions Album Mp3, Flac, Wma
Buzzcocks The Peel Sessions Album mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: The Peel Sessions Album Country: UK Released: 1989 Style: Punk MP3 version RAR size: 1475 mb FLAC version RAR size: 1846 mb WMA version RAR size: 1831 mb Rating: 4.4 Votes: 204 Other Formats: AHX ASF ASF WMA VOC AA MP4 Tracklist A1 Fast Cars 2:15 A2 Pulse Beat 4:40 A3 What Do I Get 2:50 A4 Noise Annoys 2:55 A5 Walking Distance 2:00 A6 Late For The Train 5:10 A7 Promises 2:29 B1 Lipstick 2:40 B2 Everybody's Happy Nowadays 2:17 B3 16 Again 3:14 B4 I Don't Know What To Do With My Life 2:40 B5 Mad Mad Judy 2:45 B6 Hollow Inside 3:45 B7 E.S.P 3:35 Companies, etc. Phonographic Copyright (p) – BBC Enterprises Ltd. Copyright (c) – Strange Fruit Records Ltd. Distributed By – Pinnacle Credits Composed By – Howard Devoto (tracks: A1), John Maher (tracks: A6), Pete Shelley (tracks: A1 to A4, A6 to B7), Steve Diggle (tracks: A1, A6, A7), Steve Garvey (tracks: A5, A6) Design [Sleeve] – Vici MacDonald Liner Notes – Richard Boon Photography By – Chris Gabrin Producer – Bob Sargeant (tracks: B1 to B3), Malcolm Brown (tracks: A1 to A3), Tony Wilson (tracks: A4 to A7, B4 to B7) Remastered By [Digitally Remastered] – Don Walker Notes Tracks A1 to A3: Recorded 7-9-77 Tracks A4 to A7: Recorded 10-4-78 Tracks B1 to B3: Recorded 18-10-78 Tracks B4 to B7: Recorded 21-5-79 All titles published by Virgin Music (Publishing) Ltd. -
Lanthorn, Vol. 12, No. 14, November 15, 1979 Grand Valley State University
Grand Valley State University ScholarWorks@GVSU Volume 12 Lanthorn, 1968-2001 11-15-1979 Lanthorn, vol. 12, no. 14, November 15, 1979 Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/lanthorn_vol12 Part of the Archival Science Commons, Education Commons, and the History Commons Recommended Citation Grand Valley State University, "Lanthorn, vol. 12, no. 14, November 15, 1979" (1979). Volume 12. 14. http://scholarworks.gvsu.edu/lanthorn_vol12/14 This Issue is brought to you for free and open access by the Lanthorn, 1968-2001 at ScholarWorks@GVSU. It has been accepted for inclusion in Volume 12 by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. Grand Valley's Student Run Weekly he Lanthorn Number 12 Volume 12 ALLENDALE, THURSDAY, NOVEMBER 15, 1979 Student Senate Refuses Request; WIB Has No Funds for Staff Warming up for the Zumberge Fol- lies? Nope, just rushing to clati. In The Student Senate Friday re dent Senate gave then $2,500. what the phone number is, and cidentally, the thought our photog fused a request from the Women’s Hubbard said the exception to the things like that." rapher was "crazy" for taking her Information Bureau (WIB) for an ex wage rule was denied because “by No decision was made pending in picture (photo by John Haafkel. ception to the rule which forbids use the time we got the (Student Senate) vestigation of the availability of of student activities fees for student constitution changed, it would be grant money. wages. winter term.” The senate also discussed the The senate also discussed hiring a Hubbard said that the Senate radio task force which is studying public relations officer for itself, and would try to support WIB in other WSRX and the possibility of getting heard a report on the radio task ways by searching for funds outside a national public radio on campus. -
Architecture As Frozen Music: Italy and Russia in the Context of Cultural Relations in the 18Th -19Th Centuries
Athens Journal of Humanities & Arts - Volume 4, Issue 2 – Pages 123-132 Architecture as Frozen Music: Italy and Russia in the Context of Cultural Relations in the 18th -19th Centuries By Tatiana Samsonova This article deals with the two kinds of art, architecture and music, in their stylistic mutual influence on the historical background of St. Petersburgʼs founding and developing as the new capital of the Russian Empire in the early 18th century. The author highlights the importance of Italian architects and musicians in the formation of modern culture in Russia and shows how the main features of Baroque and Classicism are reflected both in the architecture and music thanks to the influence of the Italian masters. For the first time the issue of the "Russian bel canto" formation resulted from the Italian maestros working in Russia in 18–19 centuries is revealed. Russian-Italian relations originated in the 18th century and covered various cultural phenomena. Their impact is vividly seen in architecture and music in St. Petersburg, which was founded in 1703 by the Russian Emperor Peter the Great whose strong desire was to turn Russia into Europe. As the famous Russian poet Alexander Pushkin wrote in his "The Bronze Horseman" (1834), "the Emperor cut a Europe window." For St. Petersburg construction as a new Russian capital outstanding Italian architects were invited. The first Italian architect, who came to St. Petersburg, was Domenico Trezzini (1670- 1734), a famous European urban designer and engineer. In the period of 1703- 1716 he was the only architect working in St. Petersburg and the Head of City Development Office. -
Conclusion: Popular Music, Aesthetic Value, and Materiality
CONCLUSION: POPULAR MUSIC, AESTHETIC VALUE, AND MATERIALITY Popular music has been accused of being formulaic, homogeneous, man- ufactured, trite, vulgar, trivial, ephemeral, and so on. These condemna- tions have roots in aspects of the Western aesthetic tradition, especially its modernist and expressivist branches, according to which great art innovates, breaks and re-makes the rules, expresses the artist’s personal vision or unique emotions, or all these. Popular music has its defenders. But they have tended to appeal to the same inherited aesthetic criteria, defending some branches of popular music at the expense of others― valorising its artistic, expressive, innovative, or authentic branches against mere ‘pop’. These evaluations are problematic, because they presuppose all along a set of criteria that are slanted against the popular fi eld. We therefore need new frameworks for the evaluation of popular music. These frameworks need to enable us to evaluate pieces of popular music by the standards proper to this particular cultural form―to judge how well these pieces work as popular music, not how successfully they rise above the popular condition. To devise such frameworks we need an account of popular music’s standard features and of the further organising qualities and typical val- ues to which these features give rise. Popular music normally has four layers of sound―melody, chords, bass, and percussion―and each layer is normally made up of repetitions of short elements, these repeti- tions being aligned temporally with one another, with whole sections of repeated material then being repeated in turn to constitute song sections. © The Author(s) 2016 249 A.