Lives, Literature, and Institutions a Dissertation Submi
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron. -
Busy Ramsey Lewis Schedule STIRS 1
rlAoRu)LPNECHART TRADE MARCH 13, 1971 Busy Ramsey Lewis Schedule STIRS 1. TO BE CONTINUED Nightgown Club, Raleigh, N.C. ISAAC HAYES-Enterprise ENS 104 NEW YORK -Cadet record- (Stax) ing artist Ramsey Lewis will be (25-30). M.J.Recordshasbeen performing at colleges and top PerformancesatVillanovaformed at 1805 W. Magnola 2. BITCHES BREW nightclubs during the next fewUniversity Villanova,Pa. Blvd.,Burbank,Calif.Mike MILES DAVIS--Columbia GP26 months as part of an itinerary(April1) ;Eastern MichiganJoseph is President. 3. MILES DAVIS AT FILLMORE that has already been bookedUniversity,Ypsilanti, Mich. Joe McFadden, VP of OMAC Columbia G 30038 into June. Cadet Records has (2) ;andWheatonCollege, ArtistCorp.,andhiswife, (3) ;will be fol- 4. CHAPTER TWO just released a single of "Can-Wheaton, Ill. Vicki, became the parents of ROBERTA FLACK -Atlantic SD 1569 dida" from the pianist's forth-lowed by two lengthy engage-their first offspring, Jonathan coming "Back to the Roots" al-ments, the Hong Kong Bar/Andrew, on Feb. 19. 5. DON ELLIS AT FILLMORE bum. Centry Plaza Hotel, Los An- Mrs. Grace Kahn, composer - Columbia G 40243 Following a two-week stay atgeles, Calif (April 12 -May 8)member of ASCAP, has made a theLighthouse,SanDiego, and the London House, Chicago, 6. THE PRICE YOU GOT TO PAY substantial contribution to the Calif. (Feb. 16-28), Lewis willIll. (May 26 -June 20). University of California at Los TO BE FREE appear at the Attic, Pittsburgh, Cadet Records has designated CANNONBALL ADDERLEY- Angeles to establish the Gus Capitol SWBB 631 Pa. (March 4-6) ;the Univer-1971 "The Year of the Ram"Kahn scholarship fund. -
The Mutation of Subjectivity in a Post-Print Culture Johnnie a Wilcox
Recombinant Media: The Mutation of Subjectivity in a Post-Print Culture Johnnie A Wilcox Marina, California B. A, University of Southern California, 1990 M. A, Humboldt State University, 1993 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia January 2005 © Copyright by Johnnie A. Wilcox All Rights Reserved January 2005 i ABSTRACT “Recombinant Media: The Mutation of Subjectivity in a Post-Print Culture” Johnnie A. Wilcox “Recombinant Media: The Mutation of Subjectivity in a Post-Print Culture” argues that subjectivity in American literary postmodernism is a transformation of the subject produced by print technology. This transformation comes about as a result of cultural shifts in media priority and the changes media themselves undergo as they incorporate techniques of other media. This study examines how the representation and production of subjectivity in several print objects is affected by the incorporation of techniques more characteristic of non-print media such as film, electronics, and music. The introduction traces the rise of non-print media such as film, electricity, and radio and argues that these media both augment and deform is such a way that print media then produces “recombinant media” which dramatically alter the subject normally produced by print. The first chapter considers how Gravity’s Rainbow hybridizes its own media body to create from its reader a retribalized, cybernetic subject. The second chapter traces the origins of this mutated, postmodern subject back to Ralph Ellison’s Invisible Man, arguing that the pressures of electricity and speech mutate Invisible Man into the prototype of the hacker. -
Denigrata Cervorum: Interpretive Performance Autoethnography and Female Black Metal Performance Creator: Shadrack, J
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Thesis Title: Denigrata Cervorum: interpretive performance autoethnography and female black metal performance Creator: Shadrack, J. H. R Example citation: Shadrack, J. H. (2017) Denigrata Cervorum: interpretive performance autoethnography and female black metal peArformance. Doctoral thesis. The University of Northampton. Version: Accepted version T http://nectarC.northampton.ac.uk/9679/ NE DENIGRATA CERVORUM: Interpretive Performance Autoethnography and Female Black Metal Performance Submitted for the Degree of Doctor of Philosophy At the University of Northampton 2017 JASMINE HAZEL SHADRACK © Jasmine Shadrack. 2017. PhD. This thesis is copyright material and no quotation from it may be published without proper acknowledgement. Contents Abstract Acknowledgements List of Tables List of Figures Denigrata Cervorum: Rationale and Context…………………………………………………..i Chapter 1: Interpretive Performance Autoethnography……………………………………….1 1.a. Autoethnographic Methodological Markers: Exhumation through Catharsis.…………..4 1.a.i. Exhumation: Abuse and Interrogative Autoethnographic Analysis……………….….4 1.a.ii. Autoethnography as Praxis ……………….………………….……….……………..7 1.a.iii. Interpretive Autoethnography: Performance and the Doubling of the Self………..9 1.a.iv. Dialogical Space as Black Metal Performance………………………………..13 Chapter 2: Mapping Extreme Metal………….………………………………………………17 2.a. Gender and Extreme Metal………...…………………………………………………17 2.a.i. Audience………………………………………………………………………….19 -
Adam Parrish. ’Cause One Day You Might Get What You Ask For
Contents Title Page Dedication Epigraph Prologue 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 Epilogue Acknowledgments About the Author Also by Maggie Stiefvater Copyright for Jackson, and all her mqrvelous hours [sic] What if you slept And what if In your sleep You dreamed And what if In your dream You went to heaven And there plucked a strange and beautiful flower And what if When you awoke You had that flower in your hand Ah, what then? — SAMUEL TAYLOR COLERIDGE Those who dream by night in the dusty recesses of their minds wake in the day to find that it was vanity: but the dreamers of the day are dangerous men, for they may act their dreams with open eyes, to make it possible. — T. E. LAWRENCE I loathe people who keep dogs. They are cowards who haven’t got the guts to bite people themselves. — AUGUST STRINDBERG A secret is a strange thing. There are three kinds of secrets. One is the sort everyone knows about, the sort you need at least two people for. One to keep it. One to never know. The second is a harder kind of secret: one you keep from yourself. Every day, thousands of confessions are kept from their would-be confessors, none of these people knowing that their never-admitted secrets all boil down to the same three words: I am afraid.