Juri Onuki 393 Stuyvesant Avenue #2 Brooklyn NY 11233

Total Page:16

File Type:pdf, Size:1020Kb

Juri Onuki 393 Stuyvesant Avenue #2 Brooklyn NY 11233 Juri Onuki 393 Stuyvesant Avenue #2 Brooklyn NY 11233. Phone: 646­712­3815 E­mail:[email protected] Website: http://jurionuki.com Professional Choreography/ Collaboration Experience United Nations Women / Lifebuoy / Fashion for Development Juri Onuki 2014 “Hands” New York, NY ​ The Academy Mansion New York, NY A private event curated by Sky dancer media Juri Onuki 2013 “Partial View” Idea City Festival (New Museum) New York, NY Juri Onuki in collaboration with Common Space and Lisa Levine ​ ​ ​ ​ 2013 “Social Mirroring” (Workshop & Performance) ​ ​ Brooklyn Art Exchange Brooklyn, NY Spacial Design (curated and produced) ​ ​ Juri Onuki in collaboration with Arat­Voix ​ ​ 2012 “Panorama” CPR Center for Performance Research Brooklyn, NY Object as Performer Juri Onuki 2012 “Under ver.2” Get This! Gallery Atlanta, GA Juri Onuki 2011 “Under” th Reiko Ballet School 25 ​ Annual Concert Ibaraki, Japan ​ Juri Onuki 2010 “Short Story, Long Walk” ​ ​ Englishkills Gallery Brooklyn. NY Juri Onuki collaborates with John Bonafede (artist) ​ ​ ​ 2010 “Attempted Erasure” ​ ​ ​ ​ Site Specific Atlanta, GA Le Falsh Art Festival Atlanta, GA Stokes Gallery Atlanta, GA The Elizabeth Foundation of the Arts New York, NY Juri Onuki collaborates with Gyun Hur (artist) ​ ​ ​ 2009~2011 “A Blanket of Requiem” ​ “Moonlight Garden” “A Requiem in the Garden” “Mourning Cart III” Professional Movement Consulting/ Dance Direction Experience Music Video “I Know” by Blood Orange (Domino Records) ​ ​ Directed by Dev Hynes Choreography by Dev Hynes, Maria Kotchekova and Juri Onuki ​ ​ ​ ​ ​ 2015 Music Video “Promises” by Ryn Weaver (Interscope) ​ ​ Directed by CContender Choreography by Juri Onuki ​ 2015 Music Video “Nails” by Zola Jesus (Mute Records) ​ ​ Directed by Jacqueline Castel ​ Dance by Juri Onuki ​ 2015 Music Video “Your Planet” by Young Ejecta (Driftless Recording) ​ ​ Directed By Choreograohy by Juri Onuki ​ 2015 GAP “Play Stripe” campaign commercial “it is what it is” by Blood Orange ​ Directed by Alex Da Corte Choreography by Dev Hynes and Juri Onuki 2014 Live Performance at Jimmy Kimmel Live! (ABC network) “It is what it is” “Time Will Tell” by Blood Orange ​ Choreography by Dev Hynes and Juri Onuki ​ ​ ​ 2014 Live Performance set “Arcadia” by Ramona Lisa (Terrible Records) ​ ​ Choreography by Caroline Polachek and Juri Onuki ​ ​ ​ 2014 Music Video “Time Will Tell” by Blood Orange (Domino Records) ​ ​ Directed by Alan Del Rio Ortiz ​ Choreography by Dev Hynes and Juri Onuki ​ ​ ​ 2013 Music Video “Amanaemonesia” by Chairlift (Columbia Records) ​ ​ ​ ​ ​ directed by Caroline Polachek and Tom Hines ​ ​ ​ Choreography by Caroline Polachek ​ Movement Consulting by Juri Onuki ​ 2011 Professional Performance Experience ​ American Realness Show & Tell New York, NY RoseAnne Spradlin 2014 “Indelible Disappearance” Emergency Glitter at Abrons Arts Center New York, NY Movement Research at Judson Church New York, NY Catch 47 at Bushwick Starr Brooklyn, NY Catch 53 at the Invisible Dog Brooklyn, NY Brink at Dixon Place New York, NY Brooklyn Arts Exchange Brooklyn, NY Rebecca Warner 2011­2013 “Into Glittering Asphalt” “Romantic Era” “Soda Lake” Brooklyn Arts Exchange Brooklyn, NY Movement Research At Judson New York, NY RoseAnne Spradlin 2013 “Studies of Disappearance” The Armory Show (Luciana Brito Gallery) New York, NY Marina Abramovic 2012 “Bed for Human Use” (8) Art in Odd Places RITUAL New York, NY Abigail Levine 2011 “Being Away and Walking” Dance New Amsterdam “HOPE” Fundraiser for Japan New York, NY Mana Kawamura 2011 “Cloudburst” Abrons Arts Center New York, NY The Kitchen presents Narcissister: New York, NY Narcissister/ Vanessa Waters (choreography) ​ 2011, 2010 “This Masquerade” Judson Church New York, NY Carolee Schneemann IN HONOR OF JUDSON exhibition ​ 2010 “Lateral Splay” New Museum New York, NY ​ ​ William Pope L The Last Newspaper Exhibition ​ 2010 “Eating the Wall Street Journal” Ideal Glass New York, NY Andrew Ondrejcak (writer/director) ​ 2010 a play “FATHERLAND” (role: Sibyl) ​ ​ Museum of Modern Art (MoMA) New York, NY Marina Abramovic retrospective The Artist is Present ​ ​ 2010 “Luminosity” “Imponderabilia” “Point of Contact” Exit Art Crisis Series New York, NY Annamarie Ho/Megan Honaray (choreography) ​ th 2009 “Umbrellas of May 35 ”​ ​ Performa 09 New York, NY Christian Tomaszewski and Joanna Malinowska ​ ​ 2009 “Mother Earth, Sister Moon” DanceNow festival 2008 &2009 New York, NY Dancespace project @ BRIC Brooklyn, NY Movement Research at Judson Church New York, NY Friday at Noon New York, NY Mana Kawamura 2008~2009 “Celebration!” “Sweets to the Sweet” “Specimen” The Armony show New York, NY Bushwick Biennale Brooklyn, NY Maximum Perception: Brooklyn, NY Marni Kotak 2008~2009 “Slumber Party” “How to French Kiss” Education Merce Cunningham Studio New York, NY 2006~ 2009 Certification of Completion George Mason University, Fairfax, VA 2001~2005 Dance B.F.A Dean’s List 2002~2005 .
Recommended publications
  • 12" White Vinyl 27.99 2Pac Thug Life
    Recording Artist Recording Title Price 1975 Notes On A Conditional Form - 12" White Vinyl 27.99 2pac Thug Life - Vol 1 12" 25th Anniverary 20.99 3108 3108 12" 9.99 50 Cent Best Of 50 Cent 12" 29.99 65daysofstatic Replicr 2019 12" 20.99 Abba Live At Wembley Arena 12" - Half Speed Master 3 Lp 32.99 Abba Gold 12" 22.99 Abba Abba - The Album 12" 12.99 AC/DC Highway To Hell 12" 20.99 AC/DC Back In Black - 12" 20.99 Ace Frehley Spaceman - 12" 29.99 Acid Mothers Temple Minstrel In The Galaxy 12" 21.99 Adam & The Ants Kings Of The Wild Frontier 12" 15.99 Adele 25 12" 16.99 Adele 21 12" 16.99 Adele 19- 12" 16.99 Agnes Obel Myopia 12" 21.99 Ags Connolly How About Now 12" 9.99 Air Moon Safari 12" 14.99 Alan Marks Erik Satie - Vexations 12" 19.99 Alanis Morissette Jagged Little Pill 12" 18.99 Aldous Harding Party 12" 16.99 Aldous Harding Designer 12" 14.99 Alec Cheer Night Kaleidoscope Ost 12" 14.99 Alex Banks Beneath The Surface 12" 19.99 Alex Lahey The Best Of Luck Club 12" White Vinyl 19.99 Alex Lahey I Love You Like A Brother 12" Peach Vinyl 19.99 Alfie Templeman Happiness In Liquid Form 14.99 Algiers There Is No Year 12" Dinked Edition 26.99 Ali Farka Toure With Ry CooderTalking Timbuktu 12" 24.99 Alice Coltrane The Ecstatic Music Of... 12" 28.99 Alice Cooper Greatest Hits 12" 16.99 Allah Las Lahs 12" Dinked Edition 19.99 Allah Las Lahs 12" 18.99 Alloy Orchestra Man With A Movie Camera- Live At Third Man Records 12" 12.99 Alt-j An Awesome Wave 12" 16.99 Amazones D'afrique Amazones Power 12" 24.99 Amy Winehouse Frank 12" 19.99 Amy Winehouse Back To Black - 12" 12.99 Anchorsong Cohesion 12" 12.99 Anderson Paak Malibu 12" 21.99 Andrew Combs Worried Man 12" White Vinyl 16.99 Andrew Combs Ideal Man 12" Colour Vinyl 16.99 Andrew W.k I Get Wet 12" 38.99 Angel Olsen All Mirrors 12" Clear Vinyl 22.99 Ann Peebles Greatest Hits 12" 15.99 Anna Calvi Hunted 12" - Ltd Red 24.99 Anna St.
    [Show full text]
  • TREE of CLUES: a Packet for Popheads
    TREE OF CLUES: a packet for popheads Written by Kevin Kodama 1. In one song by this artist, a background clicking noise slows down as she sings “I found another way / To caress my day”. One of this artist’s videos is a single shot of her as both a giant goddess and tiny dancers that slowly zooms out. A track by this artist that she described as “a medieval march through the destruction of a relationship” laments “I never thought that you would be the one to tie me down”. This artist asks “Why don’t I do it for you” in a video that showcases her pole-dancing skills, and she explained a part of her name as “a selection of letters that sounded... masculine and strong”. For ten points, name this artist who released “Cellophane” for her 2019 album MAGDALENE. ​ ​ ANSWER: FKA twigs (accept Taliah Debrett Barnett) ​ ​ ​ ​ 2. This song’s heavily ad-libbed bridge includes the James Brown-inspired lyric “Good God! I can’t help it!”. In the music video for this song, the artist crawls on the ground sporting white polka dotted lipstick. This song begins with a series of tongue clicking and a breathy “yeah” along with some funky guitars. The video for this song uses pink, purple, and blue lighting in a scene where the artist runs between a male flirt and Tessa Thompson. This song’s artist describes herself as “an emotional sexual bender”, which is a nod to her pansexuality. For ten points, name this top r/popheads track of 2018, a Janelle Monae song that was the lead single for the album Dirty Computer.
    [Show full text]
  • Deutsche Nationalbibliografie 2015 T 09
    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2015 T 09 Stand: 23. September 2015 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2015 ISSN 1613-8945 urn:nbn:de:101-ReiheT09_2015-6 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.
    [Show full text]
  • Dossier De Prensa
    Dossier de Prensa NOS PRIMAVERA SOUND EDICIÓN 2016 CARTEL 2016 PARQUE DA CIDADE ORGANIZACIÓN Y COLABORADORES ENTRADAS Y PUNTOS DE VENTA EDICIÓN 2012 EDICIÓN 2013 EDICIÓN 2014 EDICIÓN 2015 CONTACTOS BIOGRAFÍAS 2 NOS PRIMAVERA SOUND NOS Primavera Sound es el homólogo portugués del festival Primavera Sound que se celebra en Barcelona desde hace 15 años. La ciudad de Oporto acogerá por quinto año consecutivo la edición lusa, que se celebrará entre el 9 y el 11 de junio en el Parque da Cidade. El cartel de NOS Primavera Sound contará con una amplia selección de artistas internacionales, así como una significativa representación de artistas de la escena musical portuguesa. La línea artística sigue las mismas directrices que el de Barcelona, que se distingue por la variedad de estilos y por su apuesta por nuevos valores, destacando tanto la escena musical local como a artistas con largas y respetadas carreras. Tras consolidar su éxito en la quinta edición, NOS Primavera Sound se ha convertido en parada obligatoria dentro del circuito de festivales del la Europa. La excelente localización geográ ca de Oporto, lo bien comunicada que está con el resto de Europa y la distinción del festival dentro del panorama musical portugués contribuyen al crecimiento de la ciudad, a su proyección como capital cultural y a su dinamización internacional como destino turístico. 3 EDICIÓN 2016 NOS Primavera Sound acaba de dar a conocer el cartel completo de su quinta edición. Tras anunciar la presencia del dúo francés Air, autores de notables discos como “Moon Safari o la BSO de “Las Virgenes Suicidas”, el festival revela los nombres que, entre el 9 y el 11 de junio, pasarán por el emblemático Parque da Cidade de Oporto.
    [Show full text]
  • Chairliftmothdigitalbooklet.Pdf
    Saxophone by Danny Meyer MPC, Drum Programming, Marimba, and Guitar by Patrick Wimberly Vocals, Synth, and Sampling by Caroline Polachek Saxophone by Danny Meyer Keyboards, Drums, Percussion, and Bass by Robin Hannibal Saxophone by Danny Meyer Additional Production by Cecil Frena Drums, Synths, Bass, Vocals, and Horn Arrangement by Patrick Wimberly Guitar by Joey Postiglione and Kurt Feldman Spoken Intro Vocal by Miles B.A. Robinson Vocals, Additional Bass Programming, and Additional Drum Programming by Bass by David “Dj” Ginyard MPC, Acoustic Guitar, Synth, Drums, and Vocals by Patrick Wimberly Caroline Polachek Trumpet by John Lake Vocals, Synth, and Sampling by Caroline Polachek Guitar, Drums, Programming, Synth, Percussion, and Vocals by Patrick Wimberly Vocals, Synth, Drum Programming, Bass Arrangement, Bongos, and Shaker by Caroline Polachek Horn Arrangement by Caroline Polachek and Patrick Wimberly Guitar by Joel Van Dijk Bass by David “Dj” Ginyard Guitar by Joel Van Dijk Saxophone by Danny Meyer Additional Drums and Percussion by Robin Hannibal Keyboards, Drums, and Percussion by Robin Hannibal Guitar by Joey Postiglione Violin by Emily Holden MPC, 808, Hi-Hats, Programming, Percussion, and Synths by Patrick Wimberly Drums, Guitar, Synth, Programming, and Percussion by Patrick Wimberly MPC, Bass, Guitar, and Synth by Patrick Wimberly Spoken Vocal by Juri Onuki Vocals, Bass, Synth, Drum Programming, Bongos, and Laptop Mic Percussion by Vocals, Synth, and Piano by Caroline Polachek Vocals, Synth, Sampling, and Bass Arrangement by Caroline Polachek MPC, Bass, and Synth by Patrick Wimberly Vocals, Synth, Sampling, Violin Arrangement, and Castanets by Caroline Polachek Caroline Polachek All songs © 2015 Avant-Garcon Publishing and Patrick Wimberly Publishing, admin.
    [Show full text]
  • Im Strudel Der Zeiten
    # 2019/48 dschungel https://jungle.world/artikel/2019/48/im-strudel-der-zeiten Caroline Polacheks Soloalbum »Pang« Im Strudel der Zeiten Von Jan-Niklas Jäger Auf ihrem ersten unter ihrem Namen veröffentlichten Soloalbum vermischt Caroline Polachek Vergangenheit und Zukunft zu einer alternativen Gegenwart. In der zweiten Hälfte der nuller Jahre war die beste Möglichkeit für Indie-Musiker, um ein breites Publikum zu erreichen, einen Song in einem Werbespot für den iPod zu platzieren. 2008 wurde die Welt auf diesem Weg mit Caroline Polacheks Stimme vertraut gemacht, als der Song »Bruises« ihrer bis dahin unbekannten Band Chairlift seinen Weg in einen Spot für den iPod Nano fand. »Bruises« klingt wie eine niedliche Indie-Pop-Nummer, wie geschaffen für die Werbung. Doch die sexuellen Untertöne in ­Zeilen wie »Got pink and black and blue /Got bruises on my knees for you« konterkarieren die kindliche Unschuld des Stücks, und wenn Polacheks Stimme dann im Refrain in die Höhe schießt, deutet sie eine Ambi­valenz an, die in einem Werbespot naturgemäß verlorengeht. Auf 14 Tracks begibt sich Polachek auf eine klassische Heldinnenreise. Doch zieht sie nicht in die weite Welt hinaus, im Gegenteil: »Pang« blickt in die Menschen selbst hinein. Elf Jahre später sind Chairlift ­Geschichte und die Popwelt ist eine andere. Für ihr im Oktober erschie­nenes Soloalbum »Pang« tat sich Polachek mit dem Produzenten Danny L. Harle vom Londoner Label PC Music zusammen. PC Music produziert elektronischen Hyper-Pop, der die handelsüblichen Pop-Hits noch weiter aufbläst und dem Performer hinter dem Hit jegliche persönliche Note raubt. Dieses Spiel mit der Entpersonalisiserung entwickelt zuweilen verstörende Qualitäten, etwa wenn die Sängerin Hannah Diamond emotionslos und mit einer Stimme, die in die Stimmhöhe eines Kindes hochgepitcht wurde, über Sex singt.
    [Show full text]
  • Charli XCX Was Seven Years Old When She Had Her First Cataclysmic Pop Epiphany
    Charli XCX was seven years old when she had her first cataclysmic pop epiphany. ‘I think it was on the BBC news it was such a big thing at the time,’ she explains, about the kerpow moment of conceptual pop that blew her little mind as she watched Britney Spears strut through High School to the strains of Baby, One More Time. ‘I wasn’t sat there thinking, I want to be a pop star or, I want to be famous. I just wanted to be like Britney Spears, which I suppose was both of those things.’ Maybe it was neither. Times change. People change with them. At 26, Charli has framed a career for herself as one of the most respected, connected and commercially bankable songwriters in pop’s rainbow spectrum. She flits effortlessly between roles as irresistible front-woman, storied backroom girl and, on several acutely memorable occasions, the wizard behind the curtain of Oz pulling the puppet strings on stone cold/red hot millennial bangers, ‘I Love It’, ‘Boom Clap’, ‘Fancy, ‘After The Afterparty’ and ‘Boys’. Her intricate and intuitive musical awareness led her to head up a biweekly show for Beats 1. Her sociological frankness meant the BBC asked her to front a documentary on Feminism. Between the side-lines and moonlighting gigs, a pop star of unique distinction has percolated at her own pace, on her own terms. ‘As I got into the music industry,’ she says now, ‘I realised that I wanted to be more than a pretty face singing a nice song. I wanted to really have my hands all over the industry, my fingerprints everywhere in terms of not just the songs I release but the ones I write for other people, the music videos I put myself in, or direct for others.
    [Show full text]
  • Blur Live: 7.875 X 10.375 Cover Story Maria (16) Make No Mistake - Maria Taylor Knows There’S No Place Like Home
    FOR FANS OF MUSIC & THOSE WHO MAKE IT VOluME 1, IssuE 7 CHAIRLIFT DEAF JUDGES THE DUMPS JOKER’S DAUGHTER LADY ANTEBELLUM THE ROOTS TINTED WINDOWS SPRING TIGERS ERIN MCCARLEY & MORE!!!! 10 QUESTIONS WITH GEORGE THOROGOOD JAIME PRESSLY: WORKING GIRL SAVING MUSIC maria EDUCATION FROM DUST TO DIGITAL taylor PLUS! SUMMER gets lucky FESTIVALS NOT TO MIss! BEN FOLDS: BIG MAN ON CAMPUS 75+ Bands on 4 Stages INCREDIBLE NEW SITE FOR 2009! THE BLACK CROWES GOV’T MULE SOUND TRIBE SECTOR 9 Yonder Mountain String Band Les Claypool Matisayhu G Love & Special Sauce Cross Canadian Ragweed Galactic Shpongle Buckethead DIGABLE PLANETS Sly & Robbie Railroad Earth Steve Kimock Crazy Engine feat Melvin Seals Perpetual Groove Porter Batiste & Stoltz JJ Grey & MOFRO Jimmy Herring Band The Egg 20/20 Soundsystem Lucero Split Lip Rayfield AND DOZENS MORE! JUNE 4th-7th MULBERRY MOUNTAIN OZARK, ARKANSAS SEE THE FULL LINEUP AND PURCHASE TICKETS AT WWW.WAKARUSA.COM Ad Name: We Recycle Closing Date: 4.16.9 Trim: 8.375 x 10.875 Item #: PEN20099489 QC: RR Bleed: 8.5 x 11 Job/Order #: 600865-202967 Pub: Athens Blur Live: 7.875 x 10.375 cover story maria (16) Make no mistake - Maria Taylor knows there’s no place like home. Now, if she could just figure out taylor where home is… gets lucky —Alec Wooden 27 years( after40 the )release of his flagship blues tune, is George Thorogood still “Bad George to the Bone?” tenquestions with Thorogood — Zac Taylor DUST (45) From a college DJ booth to the TO biggest stage in the music indus- try, Lance Ledbetter’s passion for out-of-print rarities is becoming DI GI TA L an unavoidable phenomenon.
    [Show full text]
  • Danny L Harle on Making Pop Music
    May 5, 2017 - Danny L Harle is a music producer from London. He is part of the label PC Music. He also writes and produces with pop artists. RuPaul's Drag Race season 8 finalist Naomi Smalls has a lip sync routine to his Tinashe remix. As told to Hannah Street Elliott, 1386 words. Tags: Music, Culture, Process, Collaboration, Identity, Inspiration. Danny L Harle on making pop music How do you approach making “real pop” with people like Carly Rae Jepsen and Charli XCX versus making things for yourself or with your usual PC Music crew? Pop isn’t a genre. It’s just whatever’s popular, and then there are genres that are exasperated by the fact that they are popular. If something sounds like pop music it’s the sound of a genre being exasperated. It happens to all sorts of electronic genres. The reason I’m interested in pop is because it’s so extreme… It pushes the immediacy of a genre of music to its most extreme levels. I’m interested in extreme simplicity and extreme complexity and extremely loud and immediate things. That’s often exemplified by pop music. You find that in dance pop music as well. I’m interested in dance pop because I’m interested in why people don’t consider it to be the same as normal pop music. It makes sense in a club environment that dance music’s a whole different, functional thing. But why do people consider it so radically different from a pop song? Dance music forces you to come up with basically four words for your verse and three words for your chorus.
    [Show full text]
  • Unusual Talks, Politics Put Oracle Ahead in Tiktok Race
    P2JW259000-6-A00100-17FFFF5178F ****** TUESDAY,SEPTEMBER 15,2020~VOL. CCLXXVI NO.64 WSJ.com HHHH $4.00 DJIA 27993.33 À 327.69 1.2% NASDAQ 11056.65 À 1.9% STOXX 600 368.51 À 0.1% 10-YR. TREAS. unch. , yield 0.669% OIL $37.26 g $0.07 GOLD $1,953.10 À $15.30 EURO $1.1863 YEN 105.73 In Tokyo, Ruling Party Clears Way for Successor to Abe Citi Faces What’s News Rebuke ForIts Business&Finance Handling ederal regulators are F preparing to repri- mand Citigroup for failing Of Risk to improve its risk-man- agement systems designed to detect problematic Expected regulatory transactions, risky trades and other threats. A1 demand for changes Amazon plans to hire accelerated the bank’s 100,000 additional em- CEO succession plan ployees in the U.S. and Canada, continuing a rapid BY DAVID BENOIT expansion during the coro- AND BEN EISEN navirus pandemic. A1 Verizon has agreed to buy Federal regulatorsare pre- TracFone,aprovider of wire- GES paring to reprimand Citigroup lessprepaid services,ina IMA Inc.for failing to improveits deal worth up to $7 billion. B1 risk-managementsystems—an GETTY expansiveset of technology Delta is the latest car- SE/ and procedures designed to de- rier to raise cash by bor- tect problematic transactions, rowing against its fre- riskytrades and anything else quent-flier program to ANCE-PRES FR that could harm the bank. weather the pandemic. B1 Theexpected rebukefrom Hedge-fund manager ENCE the Office of the Comptroller AG Cohen has agreed to buy S/ of theCurrencyand the Fed- the NewYork Metsinadeal PRES eral Reserveaccelerated plan- valued at between $2.4bil- JIJI ning forChief ExecutiveMi- lion and $2.5billion.
    [Show full text]
  • John Cale: the Velvet Underground & Nico
    2017 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer John Cale: The Velvet Underground & Nico 50th Anniversary of The Velvet Underground & Nico Curated by John Cale Members of Wordless Music Orchestra Plus special guests Nov 16 & 17 at 8pm John Cale’s 75th Birthday Celebration A Live Audio-Spectrum from Dissonance to Deconstruction Music by John Cale Wordless Music Orchestra BGV Music Choral Group Plus special guests Nov 18 at 8pm Presented in association with Wordless Music BAM Howard Gilman Opera House Season Sponsor: Support for the Signature Artist Series provided by the Howard Gilman Foundation. Notes 50th Anniversary of The Velvet Underground & Nico Nov 16 & 17 I’m often reluctant to spend too much time on things past—then, a time marker shows up: The Velvet Underground & Nico turns 50! As so many bands can attest, it’s the fulfillment of the ultimate dream to record your first album. We were an unfriendly brand, dabbling in a world of challenging lyrics and weird sonics that didn’t fit into anyone’s playlist at the time. Remaining ferociously true to our viewpoints, Lou [Reed] and I never doubted for a moment that we could create something to give a voice to things not regularly explored in rock music at the time. That bizarre combination of four distinctly disparate musicians and a reluctant beauty queen perfectly summed up what it meant to be The Velvet Underground. —John Cale, 2017 To celebrate the 50th birthday of this musical masterpiece Cale decided to perform the album in its entirety only three times.
    [Show full text]
  • Hoe A.G. Cook En Zijn PC Music De Popwereld Verwarden En Veroverden
    MUZIEK Hij coproducete albums van major label zijn. PC Music is aan - nen sinds lang’, schrijft Pitchfork. Charli XCX en Jónsi, is nog vankelijk dan ook het buitenbeen- Of je nu voor- of tegenstander bent: steeds baas van het invloedrijke tje in de Britse elektronische under- A.G. Cook en zijn kompanen weten PC Music-label en zet zichzelf ground. Ze zijn DIY, maar omarmen doorheen de jaren steeds meer fans tegelijk de ingesteldheid die je met de voor hun kar te spannen. Zo worden nu ook solo op de kaart met grootste popsterren associeert. Het hun songs opgepikt door merken als maar liefst twee platen in twee wordt daarbij nooit helemaal dui- Red Bull en McDonald’s en kloppen maanden tijd. A.G. Cook geldt delijk of A.G. Cook kritiek uit op de popsterren als Charli XCX en Carly op zijn dertigste als een van mainstreampopwereld of er net deel Rae Jepsen bij het label aan voor de geluidsarchitecten van de van wil uitmaken. ‘Alsof de arties- hun producties. In 2015 tekent PC hedendaagse pop. ten deelnemen aan The X Factor anno Music zelfs een contract bij Columbia 2054’, omschreef The Guardian de Records UK, al wordt die samenwer- door Jozefien Wouters glossy esthetiek. king vrij snel stopgezet. A.G. Cook neemt de rol van In augustus liet Alexander ‘A.G.’ producer, platenbaas, manager en Lowbrow wordt highbrow Hoe A.G. Cook Cook het ambitieuze 7G op de wereld talentenscout op zich en verzamelt Anno 2020 blijken de fans gelijk te los, zijn debuutalbum bestaande een allegaartje muzikale weirdo’s: hebben: PC Music had wel dege - uit zeven delen en negenenveertig producer Danny L Harle, de trashy lijk invloed op de toekomst van de en zijn PC Music nummers, goed voor experimente- popster GFOTY, Kero Kero Bonito-lid popmuziek.
    [Show full text]