DOCSLIB.ORG

Downtown Music and Its Misrepresentations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

an ARTSJOURNAL weblog | ArtsJournal Home | AJ Blog Central A B O U T . « Music that Aspires to the Condition of Baseball | Main | A Tune a Day » March 08, 2005 Kyle Gann I'm a composer (since I was 13), a music critic (since I was 27), a Downtown Music and its Misrepresentations musicologist (since I was 32), and a music professor (since I was After every article I write about the Uptown/Downtown issue, I receive at 39).... more least one e-mail telling me my views on the subject are bullshit. All of these READ ME IN THE VOICE Read Kyle Gann's columns from messages have one thing in common: the writer knows the music of John the Village Voice back to Zorn and the Bang on a Can festival. This acquaintance, in his estimation, September 1998 clearly outweighs my 28 years of involvement with the Downtown scene and Kyle Gann's Home Page More than you ever wanted to makes the writer an authority on Downtown music. This is like reading the know about me at www.kylegann.com speeches of Hillary Clinton and Joe Lieberman and then announcing, "Now PostClassic Radio I'm an expert on Leftist political thought." The radio station that goes with the blog, all postclassical music, all the time; see the playlist at Allow me to detail what?s wrong with this formulation. First: Bang on a Can. kylegann.com Speaking as someone who personally knows a few hundred Downtown Archive 539 entries and counting composers, I can tell you that there is a lot of resentment within the Contact Downtown community against Bang on a Can, and that dozens of my [email protected] composer friends would be horrified to think that the Bang on a Can festival was anyone's image of Downtown music. There are large swaths of Syndicate this site Downtown music that Bang on a Can has ignored, and major Downtown figures to whom BoaC has barely paid attention. In the festival's early years S E A R C H it seemed a little oriented toward Downtown composers, but there is a widespread perception that as the festival became more famous and starting Search this site: associating with Lincoln Center, the curators - David Lang, Julia Wolfe, Michael Gordon - started abandoning younger Downtown composers, Search associating with famous composers like Louis Andriessen and Steve Reich, and keeping their own music at center stage. Furthermore, there is a lot of S I T E S T O S E E feeling that Lang, Wolfe, and Gordon, who studied at Yale with Martin Some sites I like... Bresnick, are not themselves Downtown composers at all; although Gordon, Postclassic Radio! - Kyle who has more of a garage-band background and more minimalist tendencies, Gann's internet radio station that accompanies the blog; see the is sometimes exempted from this charge. playlist at kylegann.com American Mavericks - the Now is not the moment to assess the accuracy of these perceptions - I sort Minnesota Public radio program about American music (scripted of agree, sort of don't, but I merely report them to note how unfortunate this by Kyle Gann with Tom Voegeli) assumed equivalence of BoaC = Downtown is. In their defense, BoaC has Kalvos & Damian's New Music Bazaar - a cornucopia never particularly claimed to represent Downtown. There is nothing about of music, interviews, information Downtown music in their mission statement, and the only thing they?ll say by, with, and on hundreds of intriguing composers who are not publicly is that they're not really interested in the Uptown/Downtown the Usual Suspects distinction. They always chose the composers they wanted, some from Iridian Radio - an intelligently mellow new-music station Europe, many from across the country, and many who were new to the New New Music Box - the York scene altogether. If I have to think back to how they became identified premiere site for keeping up with what American composers are with Downtown, the biggest culprit may be my own reviews in the Village doing and thinking Voice, for in their early years I was enthusiastic about the new energy they Voice, for in their early years I was enthusiastic about the new energy they The Rest Is Noise - The fine brought in and the new kinds of music they gave voice to. blog of critic Alex Ross William Duckworth's Meanwhile, there were and are music festivals that do claim to represent Cathedral - the first interactive web composition and home page Downtown music, most famously New Music America, which was a traveling of a great postminimalist Downtown music schowcase for eleven years, from 1979 to 1989. Last composer October's Sounds Like Now festival explicitly featured the Downtown scene, Mikel Rouse's Home Page - the greatest opera composer of and there are periodically others, none of them nearly as visible or well- my generation funded as Bang on a Can. Follow any of these festivals and you'll have every Eve Beglarian's Home Page - great Downtown right to voice your opinions on Downtown music. But draw conclusions about compsoer Downtown from Bang on a Can, and you'll insult hundreds of Downtown Just Intonation Network - composers without particularly gratifying the BoaC people. a meeting place for people interested in alternative tunings Erling Wold's Web Site - a The issue of John Zorn I've addressed elsewhere here. Before Zorn, the fine San Francisco composer of Downtown scene could pretty well be characterized by the large roster of deceptively simple-seeming music, and a model web site composers who comprised the New Music New York festival of 1979: Rhys The Dane Rudhyar Archive Chatham, Laurie Anderson, Steve Reich, Philip Glass, Meredith Monk, - the complete site for the music, poetry, painting, and ideas of a Charlemagne Palestine, Charles Amirkhanian, Alvin Lucier, Annea Lockwood, greatly underrated composer who became America's greatest Tony Conrad, Phill Niblock, Richard Teitelbaum, and many others. It was a astrologer scene characterized by conceptualism and minimalism, music of intense focus Utopian Turtletop, John Shaw's thoughtful blog about new on sound, made by people who were outcasts from the classical music world. music and other issues This was not at all Zorn's type of music: his models in the classical world A J B L O G S were Kagel, Stockhausen, and Carter, he was antiminimalist, he thought John AJBlog Central Cage was overrated. He put together a scene of performers mostly from jazz backgrounds, and created an alternative to the minimalist Downtown scene, Architecture Pixel Points one couched in postmodern style mixing and maximalist chaos. It wasn't that Nancy Levinson on Architecture Downtown had never had free improv before - Oliveros, Terry Riley, and Culture Richard Teitelbaum had been experimenting with it, though with emphasis About Last Night Terry Teachout on the arts in New more on sound than virtuosity, more on meditation than chaos. To the horror York City of many veteran Downtowners, Zorn brought Downtown music back toward Artful Manager Andrew Taylor on the business of the modernism, chaos, and complexity from which the minimalists and Arts & Culture conceptualists had already escaped once. blog riley rock culture approximately Straight Up | With heavy irony, minimalist Tony Conrad once participated in a late '80s Jan Herman - Arts, Media & Culture News with 'tude performance of John Cage?s Songbooks by chanting, "No more Cage! Zorn is the rage!" It did seem for a few years that free improvisers from the jazz Dance Seeing Things world had infiltrated and wiped out the minimalist brand of Downtown music. Tobi Tobias on dance et al... Zorn created a parallel Downtown scene that took over in the late 1980s, Media partly through tremendous energy and organizational skills - but also partly Serious Popcorn because the free improvisers were generally ready to go onstage and Martha Bayles on Film... perform without rehearsal, and the improvising ideology entailed a belief that Music Adaptistration anything that resulted was fine. [UPDATE: To his everlasting credit, Zorn has Drew McManus on orchestra redeemed himself in recent years with Tzadik, a record label 30 times more management Sandow inclusive than the scene he dominated in the late '80s.] Eventually, after Greg Sandow on the future of 1990, free improvisation fell back into being only one component of the Classical Music Rifftides scene, ensconced at the Knitting Factory and Tonic, but again just one Doug Ramsey on Jazz and other matters... Downtown strand among many. PostClassic Kyle Gann on music after the fact Meanwhile, the Downtown scene that had started in 1960, when Yoko Ono Visual Arts opened her loft for La Monte Young and Richard Maxfield to give concerts at, Artopia survived and continued. The aesthetics of conceptualists like Robert Ashley, John Perreault's art diary survived and continued. The aesthetics of conceptualists like Robert Ashley, Modern Art Notes Pauline Oliveros, Alvin Lucier, David Behrman, Nam June Paik, Alison Tyler Green's modern & contemporary art blog Knowles, Yoshi Wada, Dick Higgins, and Phil Corner, and of early minimalists like Young, Terry Jennings, Angus Maclise, Charlemagne Palestine, Phill Niblock, Tom Johnson, Tony Conrad, Jon Gibson, Dennis Johnson, and John Special AJBlogs Cale, were inherited by further generations: Meredith Monk, Elodie Lauten, The Future of Classical Music? Brenda Hutchinson, Joshua Fried, Bernadette Speach, Daniel Goode (perhaps Greg Sandow performs a book-in- the most hardcore Downtowner of all), Barbara Benary, David First, Ben progress Neill, Skip LaPlante, Mikel Rouse, Tom Hamilton, Joshua Fried, Eve Beglarian, Critical Edge William Duckworth, Mary Jane Leach, Linda Fisher, David Borden, Guy critics in a critical age May 14-17, 2006 Klucevsek, Raphael Mostel, Lois V.
Recommended publications
  • Microtonal University (Mu)

    Microtonal University (Mu)

    MICROTONAL UNIVERSITY (MU) a virtual microtonal university SCHEDULE September 5, 2021 – August 28, 2022 A Program of the American Festival of Microtonal Music Inc. (AFMM) Johnny Reinhard - Director [email protected] MU’s Definition of “Microtonal Music”: “All music is microtonal music cross-culturally. Twelve-tone equal temperament is in itself a microtonal scale, only it enjoys exorbitant attention and hegemonic power, so we focus on the other tuning arrangements.” Johnny Reinhard, MU Director Financial Structure: $50. annual subscription; after September 1, 2021 annual membership increases to $200. Checks must be made out fully to: American Festival of Microtonal Music Inc. Or, please go to www.afmm.org and look for the PayPal button at the bottom of the American Festival of Microtonal Music’s website on the front page. MU c/o Johnny Reinhard Director, MU/AFMM 615 Pearlanna Drive San Dimas, CA 91773 347-321-0591 [email protected] 2 MU MU – a virtual microtonal university Beginning September 5, 2021, the American Festival of Microtonal Music (AFMM) presents a new project: MU Faculty members are virtuoso instrumentalists, composers and improvisers Meredith Borden (voice/interstylistic) Svjetlana Bukvich (synthesizer/electronics) Jon Catler (guitar/rock) Philipp Gerschlauer (saxophone/jazz) Johnny Reinhard (bassoon/interstylistic) – Director of MU Manfred Stahnke (viola/music composition) Michael Vick (multi-instrumental/technology) Using various platforms, MU will make available a host of different courses, instruction, entertainment, connections,
  • Robert Ashley the Old Man Lives in Concrete

    Robert Ashley the Old Man Lives in Concrete

    Joan La Barbara – composer / performer / sound artist – explores the human voice as a multi-faceted instrument, expanding traditional boundaries in composition, using a unique vocabulary of experimental and extended vocal techniques – multiphonics, circular singing, ululation and glottal clicks – that have become her “signature sounds.” Awards include a 2008 American Music Center Letter of Distinction, a Guggenheim Fellowship in Music Composition, DAAD Artist-in- Residency in Berlin, seven NEA grants and numerous commissions for concert, theater and radio works. La Barbara has created sound scores for film, video and dance and produced twelve recordings of her own works, including Voice Is the Original Instrument, a double CD of her historical compositions for Lovely Music. 73 Poems, her collaboration with text-artist Kenneth Goldsmith, was included in “The American ROBERT ASHLEY Century Part II: SoundWorks” at the Whitney Museum of American Art. Messa di Voce, an interactive media performance work created in THE OLD MAN LIVES IN CONCRETE collaboration with Jaap Blonk, Golan Levin and Zachary Lieberman, premiered to acclaim at Ars Electronica 2003. La Barbara teaches Music and libretto composition at NYU and is working on a new opera. ROBERT ASHLEY Singers David Moodey has designed for and toured with Molissa Fenley and Dancers since 1986. His design for Fenley’s State of Darkness earned SAM ASHLEY, THOMAS BUCKNER, JACQUELINE HUMBERT, him a Bessie award for lighting design. He has also designed and JOAN LA BARBARA AND ROBERT ASHLEY toured numerous shows for Paul Lazar and Annie-B Parsons and their Electronic orchestra composed by company, Big Dance Theater, and for David Neumann’s feedforward at DTW.
  • The Shape of the Stone Was Stoneshaped Between the Generations of Dick Higgins and David Rokeby Lisa Moren

    The Shape of the Stone Was Stoneshaped Between the Generations of Dick Higgins and David Rokeby Lisa Moren

    09 moren 9/2/05 11:31 am Page 69 The Shape of the Stone was Stoneshaped Between the generations of Dick Higgins and David Rokeby lisa moren Whereas my body, taken at a single moment, is but a conductor interposed between the objects which influence it and those on which it acts, it is nevertheless, when replaced in the flux of time, always situated at the very point where my past expires in a deed. Bergson 1991: 78–9 At first glance it may seem that a programmer clichés, through collage techniques in time and and builder of multi-media surveillance-to- space. Rokeby, although working in new media sound systems in the current São Paolo tools, consciously broke from the philosophy of Biennale has little in common with the demate- the media generation and worked distinctly as a rializations of a Fluxus artist, or in the direct software artist, who romantically makes art experiential forms of the Happenings art from the scratch material of code (Manovich movement. However, the fundamental gestures page 4 ‘Generation flash’). An examination of a within interactive art of the 1990s can be found selection of work by these two artists, and their in the corporeal work of Fluxus, performance relevant contemporaries, provides a point of art, Situationism, process art, participatory convergence regarding the mechanical transfer- works and Happenings generated in the 1960s. ence of ideas from the body to the computer and The notion that the viewer completes a work the transformation of the subject through manifested itself literally with the emergence of empowering the spectator to participate as interactive art.
  • Breaking the Box : the Electronic Operas of Robert Ashley

    Breaking the Box : the Electronic Operas of Robert Ashley

    k r:~ a r :T4 a : ,Wa T:I'd r I V a 7 r:V a Y,I . UAIf7~ i it Astft% "TM Rocky" (rft CorminusM; ImageTram colorvldflniane. 25 nilns. 50 so= From Perfacf LWt 1979-83. Two phantoms haunt video arts uneasy dreams-tele- whether the parade of advancing technology simply ords and live performances in the U.S. and Europe. It vision and art. For over 20 years the conflicting models passed them by. was completed as"an opera fortelevision"(as its subtitle offered by these fields have pulled at video artists, But at this critical turning point in videos short history now announces), produced by Carlota Schoolman for simultaneously attracting and repelling them. They a number of important artists are coming forth with am- the Kitchen and in association with Ashley and Britain's in havefound themselves trapped between these oppos- bitious projects, some of which havetaken years to pro- Channel 4, and directed by John Sanborn. Finally, ing positions-in most cases relegated to the fringes of duce, that both sum up long periods of work and at the 1984, the work was broadcast to British television the art world while dreaming of (or dreading) TV's mass same time propose new trajectories for the future of viewers on Channel 4 for seven nights in a row, each audience, political influence, and budgets which would video. Two recently completed, long-awaited works- program lasting 25 minutes, 50 seconds. rein- allow them to do their work. By and large rejecting and PerfectLives, 1979-83, the seven-part TV production of Ashley calls Perfect Lives "a comic opera about throughout its rejected by both fields (though frequently yearning for Robert Ashley's epic about traveling musicians in the carnation;' and that theme is woven the rewards each offers), video artists have formed their own community dependent on government grants, an energetic but thin network of exhibition programs, lim- ited access to the general public, and a belief in the importance of their own work.
  • Dick Higgins Papers, 1960-1994 (Bulk 1972-1993)

    Dick Higgins Papers, 1960-1994 (Bulk 1972-1993)

    http://oac.cdlib.org/findaid/ark:/13030/tf1d5n981n No online items Finding aid for the Dick Higgins papers, 1960-1994 (bulk 1972-1993) Finding aid prepared by Lynda Bunting. Finding aid for the Dick Higgins 870613 1 papers, 1960-1994 (bulk 1972-1993) ... Descriptive Summary Title: Dick Higgins papers Date (inclusive): 1960-1994 (bulk 1972-1993) Number: 870613 Creator/Collector: Higgins, Dick, 1938-1998 Physical Description: 108.0 linear feet(81 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: American artist, poet, writer, publisher, composer, and educator. The archive contains papers collected or generated by Higgins, documenting his involvement with Fluxus and happenings, pattern and concrete poetry, new music, and small press publishing from 1972 to 1994, with some letters dated as early as 1960. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Dick Higgins is known for his extensive literary, artistic and theoretical activities. Along with his writings in poetry, theory and scholarship, Higgins published the well-known Something Else Press and was a cooperative member of Unpublished/Printed Editions; co-founded Fluxus and Happenings; wrote performance and graphic notations for theatre, music, and non-plays; and produced and created paintings, sculpture, films and the large graphics series 7.7.73. Higgins received numerous grants and prizes in support of his many endeavors. Born Richard Carter Higgins in Cambridge, England, March 15, 1938, Higgins studied at Columbia University, New York (where he received a bachelors degree in English, 1960), the Manhattan School of Printing, New York, and the New School of Social Research, 1958-59, with John Cage and Henry Cowell.
  • Experimental

    Experimental

    Experimental Discussão de alguns exemplos Earle Brown ● Earle Brown (December 26, 1926 – July 2, 2002) was an American composer who established his own formal and notational systems. Brown was the creator of open form,[1] a style of musical construction that has influenced many composers since—notably the downtown New York scene of the 1980s (see John Zorn) and generations of younger composers. ● ● Among his most famous works are December 1952, an entirely graphic score, and the open form pieces Available Forms I & II, Centering, and Cross Sections and Color Fields. He was awarded a Foundation for Contemporary Arts John Cage Award (1998). Terry Riley ● Terrence Mitchell "Terry" Riley (born June 24, 1935) is an American composer and performing musician associated with the minimalist school of Western classical music, of which he was a pioneer. His work is deeply influenced by both jazz and Indian classical music, and has utilized innovative tape music techniques and delay systems. He is best known for works such as his 1964 composition In C and 1969 album A Rainbow in Curved Air, both considered landmarks of minimalist music. La Monte Young ● La Monte Thornton Young (born October 14, 1935) is an American avant-garde composer, musician, and artist generally recognized as the first minimalist composer.[1][2][3] His works are cited as prominent examples of post-war experimental and contemporary music, and were tied to New York's downtown music and Fluxus art scenes.[4] Young is perhaps best known for his pioneering work in Western drone music (originally referred to as "dream music"), prominently explored in the 1960s with the experimental music collective the Theatre of Eternal Music.
  • Avant Garde Poet Dick Higgins to Read His Works

    Avant Garde Poet Dick Higgins to Read His Works

    Avant garde poet Dick Higgins to read his works May 14, 1971 Dick Higgins, internationally known for his poetry, music and intermedia happenings, will read and perform from his own work at the University of California, San Diego Art Gallery at 8:30 p.m. Wednesday, May 101th. The performance is free and open to the public. Higgins, who coined the widely used term "intermedia," began his public career during the happenings phase of the avant garde movement in the late 1950s. After composing the "first electronic opera" with Richard Maxfield and helping to found the influential "fluxus" movement in 1961, Higgins became the publisher of Something Else Press, which he established in 1964. Through the press, Higgins has chronicled many outstanding performance events of the international.avant garde as well as important books in music, dance, architecture, graphics, art and poetry. His own books include "What Are Legends," "Jefferson's Birthday/Post-Face," and "A Book About Love & War & Death, Canto 1." He is the composer of "Graphics 144: A Wipeout for Orchestra" and editor of the recently published "Fantastic Architecture." He presently teaches at the California Institute for the Arts in Los Angeles but plans to return soon to his home in Vermont to resume life as "a stalker of the wild mushroom." Higgins' appearance at UCSD is part of a series of poetry performances that comprise the public portion of a seminar-workshop offered by Jerome Rothenberg, Visiting Poet,and Regents' Professor at UCSD. The series will conclude Wednesday, May 26, with a performance of Rothenberg's "Poland/1931" in an intermedia presentation.
  • Tuning in Opposition

    Tuning in Opposition

    TUNING IN OPPOSITION: THE THEATER OF ETERNAL MUSIC AND ALTERNATE TUNING SYSTEMS AS AVANT-GARDE PRACTICE IN THE 1960’S Charles Johnson Introduction: The practice of microtonality and just intonation has been a core practice among many of the avant-garde in American 20th century music. Just intonation, or any system of tuning in which intervals are derived from the harmonic series and can be represented by integer ratios, is thought to have been in use as early as 5000 years ago and fell out of favor during the common practice era. A conscious departure from the commonly accepted 12-tone per octave, equal temperament system of Western music, contemporary music created with alternate tunings is often regarded as dissonant or “out-of-tune,” and can be read as an act of opposition. More than a simple rejection of the dominant tradition, the practice of designing scales and tuning systems using the myriad options offered by the harmonic series suggests that there are self-deterministic alternatives to the harmonic foundations of Western art music. And in the communally practiced and improvised performance context of the 1960’s, the use of alternate tunings offers a Johnson 2 utopian path out of the aesthetic dead end modernism had reached by mid-century. By extension, the notion that the avant-garde artist can create his or her own universe of tonality and harmony implies a similar autonomy in defining political and social relationships. In the early1960’s a New York experimental music performance group that came to be known as the Dream Syndicate or the Theater of Eternal Music (TEM) began experimenting with just intonation in their sustained drone performances.
  • The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St

    The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St

    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES ....................................................................................................................
  • To Repeat Or Not to Repeat, That Is the Question1 by Kyle Gann

    To Repeat Or Not to Repeat, That Is the Question1 by Kyle Gann

    To Repeat or Not to Repeat, That Is the Question1 By Kyle Gann Steve Reich In the good old 1960s, the Bohemian life was cheap in lower Manhattan, the streets were relatively safe, and artists drove cabs for a living. Steve Reich, for example. He had been experimenting with tapes of interesting voices he found, and he rigged up his cab with a tape recorder so he could tape some of his passengers. One day he recorded a young African- American man who had been beaten up in the Harlem riots of 1964. By the young man's account, the police were taking away victims and would only take those who were visibly bleeding to the hospital. This young man wasn't bleeding, so, as he said, "I had to, like, open the bruise up and let some of the bruise blood come out to show them." The inner melody of that phrase intrigued Reich. He took the tape home and made tape loops from the words "Come out to show them." He started two of the tape loops together and, because his cheap tape recorders weren't precisely the same speed, he listened to them inevitably out of phase. This gradual phasing process obscured the words and turned them into a little repeated melody in C minor. Reich taped the whole process and called the resulting piece Come Out. Describing how it felt the first time he heard two tape loops go out of phase, Reich said, "The sensation that I had in my head was that the sound moved over to my left ear, down to my left shoulder, down my left arm, down my leg, out across the floor to the left, and finally began to reverberate and shake..
  • The Anchor, Volume 118.04: September 22, 2004

    The Anchor, Volume 118.04: September 22, 2004

    Hope College Hope College Digital Commons The Anchor: 2004 The Anchor: 2000-2009 9-22-2004 The Anchor, Volume 118.04: September 22, 2004 Hope College Follow this and additional works at: https://digitalcommons.hope.edu/anchor_2004 Part of the Library and Information Science Commons Recommended Citation Repository citation: Hope College, "The Anchor, Volume 118.04: September 22, 2004" (2004). The Anchor: 2004. Paper 16. https://digitalcommons.hope.edu/anchor_2004/16 Published in: The Anchor, Volume 118, Issue 4, September 22, 2004. Copyright © 2004 Hope College, Holland, Michigan. This News Article is brought to you for free and open access by the The Anchor: 2000-2009 at Hope College Digital Commons. It has been accepted for inclusion in The Anchor: 2004 by an authorized administrator of Hope College Digital Commons. For more information, please contact [email protected]. September 2004 tHe "h" word ••••••• Hope College Holland, Michigan A student-run nonprofit publication Serving the Hope College Community for 118 years Campus HOUSE MAKEOVER TIME Briefs Campus ministries teams with Jubilee to English prof rejuvenate community iiini publishes new The Extreme House Makeover, held this past Saturday, was sponsored by Ju- children's book bilee Ministries, a local Christian out- Hcalhcr Sellers, professor f. ! reach program. of English, has a new book on Campus ministries promoted the the market. "Spike and project in chapel and the Gathering for Cubby's Ice Cream Island several weeks, but were still over- Adventure," features Seller's whelmed by the 200 students who turned corgi and aulhor/illusiraior out to help improve a house for low-in- Amy Young's black lab as two come families on 15th Street, as well as dogs trapped in a boat during businesses on 17ih Street.
  • Battles Around New Music in New York in the Seventies

    Battles Around New Music in New York in the Seventies

    Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis.