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Dylan, Cash, and the Nashville Cats Exhibit to Feature Jon Langford Artwork Exhibit Opens March 27, 2015, for a Two-Year Run
Dylan, Cash, and the Nashville Cats exhibit to feature Jon Langford artwork Exhibit opens March 27, 2015, for a two-year run NASHVILLE, Tenn., December 9, 2014 – The Country Music Hall of Fame® and Museum has unveiled the artwork for its forthcoming exhibit Dylan, Cash, and the Nashville Cats: A New Music City. Created by renowned artist and punk rocker Jon Langford, the commissioned painting will serve as the exhibit motif and inspiration for other artistic elements in the exhibit design. Langford is a founding member of influential punk band the Mekons and of pioneering hard-country rockers the Waco Brothers. He was born in Newport, Wales, and studied fine art at Leeds University. Langford is known for his powerful portraits of country and rock icons, including Hank Williams, Johnny Cash, and Elvis Presley. His punk rock instincts and singular artistic eye converge in a painting style that is distinctive, demanding of engagement, and at times politically charged. For Langford, the line between Acuff-Rose and Strummer-Jones is a direct one. His preferred medium is acrylic/mixed media on “square-ish wooden objects.” The exhibit logo is intricately layered in Langford’s characteristic style. It features portraits of ’60s-era Dylan and Cash, the cityscape as seen on the back cover of Dylan’s 1969 album, Nashville Skyline, and a background of exhibit-related graffiti— including names of the featured musicians, song titles, lyrics and symbols of the era. The Country Music Hall of Fame and Museum, in addition to its broad scope of educational programs and archival focus, is widely known for its provocative mix of museum exhibits showcasing the evolving history of country music. -
Final Version
This research has been supported as part of the Popular Music Heritage, Cultural Memory and Cultural Identity (POPID) project by the HERA Joint Research Program (www.heranet.info) which is co-funded by AHRC, AKA, DASTI, ETF, FNR, FWF, HAZU, IRCHSS, MHEST, NWO, RANNIS, RCN, VR and The European Community FP7 2007–2013, under ‘the Socio-economic Sciences and Humanities program’. ISBN: 978-90-76665-26-9 Publisher: ERMeCC, Erasmus Research Center for Media, Communication and Culture Printing: Ipskamp Drukkers Cover design: Martijn Koster © 2014 Arno van der Hoeven Popular Music Memories Places and Practices of Popular Music Heritage, Memory and Cultural Identity *** Popmuziekherinneringen Plaatsen en praktijken van popmuziekerfgoed, cultureel geheugen en identiteit Thesis to obtain the degree of Doctor from the Erasmus University Rotterdam by command of the rector magnificus Prof.dr. H.A.P Pols and in accordance with the decision of the Doctorate Board The public defense shall be held on Thursday 27 November 2014 at 15.30 hours by Arno Johan Christiaan van der Hoeven born in Ede Doctoral Committee: Promotor: Prof.dr. M.S.S.E. Janssen Other members: Prof.dr. J.F.T.M. van Dijck Prof.dr. S.L. Reijnders Dr. H.J.C.J. Hitters Contents Acknowledgements 1 1. Introduction 3 2. Studying popular music memories 7 2.1 Popular music and identity 7 2.2 Popular music, cultural memory and cultural heritage 11 2.3 The places of popular music and heritage 18 2.4 Research questions, methodological considerations and structure of the dissertation 20 3. The popular music heritage of the Dutch pirates 27 3.1 Introduction 27 3.2 The emergence of pirate radio in the Netherlands 28 3.3 Theory: the narrative constitution of musicalized identities 29 3.4 Background to the study 30 3.5 The dominant narrative of the pirates: playing disregarded genres 31 3.6 Place and identity 35 3.7 The personal and cultural meanings of illegal radio 37 3.8 Memory practices: sharing stories 39 3.9 Conclusions and discussion 42 4. -
FAULT LINES Ridgites: Sidewalks Are City’S Newest Cash Cow by Jotham Sederstrom the Past Two Months; 30 Since the Beginning of the Brooklyn Papers the Year
I N S BROOKLYN’S ONLY COMPLETE U W L • ‘Bollywood’ comes to BAM O P N • Reviewer gives Park Slope’s new Red Cafe the green light Nightlife Guide • Brooklyn’s essential gift guide CHOOSE FROM 40 VENUES — MORE THAN 140 EVENTS! 2003 NATIONAL AWARD WINNER Including The Bensonhurst Paper Published weekly by Brooklyn Paper Publications at 26 Court St., Brooklyn, NY 11242 Phone 718-834-9350 © Brooklyn Paper Publications • 14 pages including GO BROOKLYN • Vol.26, No. 49 BRZ • December 8, 2003 • FREE FAULT LINES Ridgites: Sidewalks are city’s newest cash cow By Jotham Sederstrom the past two months; 30 since the beginning of The Brooklyn Papers the year. If you didn’t know better, you’d think “To me, it seems like an extortion plot,” said that some of the homeowners along a par- Tom Healy, who lives on the block with his ticular stretch of 88th Street were a little wife, Antoinette. Healy received a notice of vio- strange. lation on Oct. 24. / Ramin Talaie “It’s like if I walked up to your house and For one, they don’t walk the sidewalks so said, ‘Hey, you got a crack, and if you don’t fix much as inspect them, as if each concrete slab between Third Avenue and Ridge Boulevard it were gonna do it ourselves, and we’re gonna bring our men over and charge you.’ If it was were a television screen broadcasting a particu- Associated Press larly puzzling rerun of “Unsolved Mysteries.” sent by anyone other than the city, it would’ve But the mystery they’re trying to solve isn’t been extortion,” he said. -
Society for Ethnomusicology 60Th Annual Meeting, 2015 Abstracts
Society for Ethnomusicology 60th Annual Meeting, 2015 Abstracts Walking, Parading, and Footworking Through the City: Urban collectively entrained and individually varied. Understanding their footwork Processional Music Practices and Embodied Histories as both an enactment of sedimented histories and a creative process of Marié Abe, Boston University, Chair, – Panel Abstract reconfiguring the spatial dynamics of urban streets, I suggest that a sense of enticement emerges from the oscillation between these different temporalities, In Michel de Certeau’s now-famous essay, “Walking the City,” he celebrates particularly within the entanglement of western imperialism and the bodily knowing of the urban environment as a resistant practice: a relational, development of Japanese capitalist modernity that informed the formation of kinesthetic, and ephemeral “anti-museum.” And yet, the potential for one’s chindon-ya. walking to disrupt the social order depends on the walker’s racial, ethnic, gendered, national and/or classed subjectivities. Following de Certeau’s In a State of Belief: Postsecular Modernity and Korean Church provocations, this panel investigates three distinct urban, processional music Performance in Kazakhstan traditions in which walking shapes participants’ relationships to the past, the Margarethe Adams, Stony Brook University city, and/or to each other. For chindon-ya troupes in Osaka - who perform a kind of musical advertisement - discordant walking holds a key to their "The postsecular may be less a new phase of cultural development than it is a performance of enticement, as an intersection of their vested interests in working through of the problems and contradictions in the secularization producing distinct sociality, aesthetics, and history. For the Shanghai process itself" (Dunn 2010:92). -
Tossups by Alice Gh;,\
Tossups by Alice Gh;,\. ... 1. Founded in 1970 with a staff of 35, it now employs more than 700 people and has a weekly audience of over 23 million. The self-described "media industry leader in sound gathering," its ·mission statement declares that its goal is to "work in partnership with member stations to create a more informed public." Though it was created by an act of Congress, it is not a government agency; neither is it a radio station, nor does it own any radio stations. FTP, name this provider of news and entertainment, among whose most well-known products are the programs Morning Edition and All Things Considered. Answer: National £ublic Radio . 2. He's been a nanny, an insurance officer and a telemarketer, and was a member of the British Parachute Regiment, earning medals for service in Northern Ireland and Argentina. One of his most recent projects is finding a new lead singer for the rock band INXS, while his less successful ventures include Combat Missions, The Casino, and The Restaurant. One of his best-known shows spawned a Finnish version called Diili, and shooting began recently on a spinoff starring America's favorite convict. FTP, name this godfather of reality television, the creator of The Apprentice and Survivor. Answer: Mark Burnett 3. A girl named Fern proved helpful in the second one, while Sanjay fulfilled the same role during the seventh. Cars made of paper, plastic pineapples, and plaster elephants have been key items, and participants have been compelled to eat chicken feet, a sheep's head, a kilo of caviar, and four pounds of Argentinian barbecue, although not all in the same season. -
Roger Knox Stranger in My Land Release Date: Feburary 2013
ROGER KNOX STRANGER IN MY LAND RELEASE DATE: FEBURARY 2013 “The best music is border music, the sound of cultures colliding. In the late 20th century Black Australians assimilated Country & Western, that whitest of American musical forms, to tell the story of their physical subjugation, spiritual stoicism and eventual political awakening.” —Jon Langford, from the liner notes Roger Knox, aka the Koori King of Country or Black grog-drinkers, pelicans and policemen. Elvis as he’s known in his homeland, is an Aboriginal Australian Country & Western singer with a honeyed Stranger In My Land features guest vocals and bear hug of a voice. Bloodshot artist Jon Langford instrumental performances from Bonnie Prince Billy, (Mekons, Waco Brothers) met Knox on a visit to Kelly Hogan, Dave Alvin (X, Blasters), Sally Timms and Australia several years ago. When he heard of Roger Jon Langford (Mekons), the Sadies, Andre Williams, and the potentially-soon-to-be-lost subculture of this and perhaps the last known recording from Charlie utterly unique cultural collision, Langford knew he Louvin of the Louvin Brothers. All this star power had to be involved. Stranger In My Land is a collection is backed The Pine Valley Cosmonauts, a Chicago- of songs originally written by Aborigine artists who based loosey-goosey musical collective piloted by were Knox’s peers and predecessors; some tunes Langford and manned by a core of crack musicians previously recorded but difficult to find as well as that convenes every few years to deliver unto the world several unrecorded, handed-down folk songs (which records of vision, exploration, tribute and occasional without this recording, could have been lost forever). -
Popular Music in Southeast Asia & Schulte Nordholt Popular Music in Southeast Asia
& Schulte Nordholt Barendregt, Keppy Popular Music in Southeast Asia Banal Beats, Muted Histories Bart Barendregt, Popular Music in Southeast Asia Peter Keppy, and Henk Schulte Nordholt Popular Music in Southeast Asia Popular Music in Southeast Asia Banal Beats, Muted Histories Bart Barendregt, Peter Keppy, and Henk Schulte Nordholt AUP Cover image: Indonesian magazine Selecta, 31 March 1969 KITLV collection. By courtesy of Enteng Tanamal Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 403 5 e-isbn 978 90 4853 455 5 (pdf) doi 10.5117/9789462984035 nur 660 Creative Commons License CC BY NC ND (http://creativecommons.org/ licenses/by-nc-nd/3.0) All authors / Amsterdam University Press B.V., Amsterdam 2017 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Table of Contents Introduction 9 Muted sounds, obscured histories 10 Living the modern life 11 Four eras 13 Research project Articulating Modernity 15 1 Oriental Foxtrots and Phonographic Noise, 1910s-1940s 17 New markets 18 The rise of female stars and fandom 24 Jazz, race, and nationalism 28 Box 1.1 Phonographic noise 34 Box 1.2 Dance halls 34 Box 1.3 The modern woman 36 2 Jeans, Rock, and Electric Guitars, -
Ovation-Spring2015-2.Pdf
3 Welcome Letter THE PRESIDENT It is my pleasure to welcome you to the historic Florida Theatre! Last year was the theatre’s best attended year in 7 years. We already have more shows booked for this year than last year, and with your continued patronage of the theatre’s offerings, we are looking forward to breaking that record again this year. Pollstar Magazine is a trade journal for the concert industry, and each year they release a set of year-end charts for the industry. In 2014 the Florida Theatre was #82 on Pollstar’s Top 100 Theatres list in terms of attendance. The Florida Theatre moved up 7 points from 2013. If you were one of the lucky ones to see Mike Birbiglia’s performance of his one-man show “Thank God for Jokes” at the theatre last November, you heard him call the Florida Theatre, “The only theatre in Florida.” He was joking of course, but now we have independent, objective and verifiable evidence that the Florida Theatre is the 82nd theatre in the country! These numbers are also living proof of our vibrant cultural community, and they legitimize our own thoughts about the historic Florida Theatre; namely, that it is one of the unique things that, “Makes Jacksonville, Jacksonville.” As we progress through the year, I hope you we will see you many times for the shows that catch your eye, and I hope that every once in a while, you will consider attending a show that you are unfamiliar with. We like to think that while everything we put on our stage may not be to every single person’s taste, it’s all of the highest quality, so we encourage you to experiment a little. -
The Primacy of Seeing
The Primacy of Seeing a group exhibition The Primacy of Seeing Ocularity is generally defined as “a measure of the num- ber of eyes needed to see something, i.e. monocular or binocular”. Basically it could be understood as the human capacity to perceive or recognize through the eyes what is usually called reality. “Seeing comes before words. The child looks Anton Larenz Only the eye is capable to capture at the same time the and recognizes before it can speak. But there images and schemata of systems and structures or the is also another sense in which seeing comes structure of hierarchies. Ideas and philosophical concepts before words. It is seeing which establishes our resemble much more often nets or webs. Pictures or im- place in the surrounding world; we explain that ages are frozen time, immutable and enduring, if they world with words, but words can never undo the have been once immersed into our brains, by that way fact that we are surrounded by it. The relation establishing their own truth. between what we see and what we know is never settled.” In the digital era images have become ubiquitous, the (John Berger, 1972: 7) human mind is flooded with pictorial information. The art historian W. J. T. Mitchell coined the term “pictorial turn” for describing the shift from a discourse that relies on “We only see what we look at. To look is an act words (verbal or linguistic culture) to a visual culture that is of choice.” shaped through images. There is an all-pervasive image- (John Berger, 1972: 8). -
Contemporary Art from Indonesia Termasuk Contemporary Art from Indonesia
Contemporary art from Indonesia Termasuk Contemporary art from Indonesia preposition including termasuk, dan ... juga adjective included termasuk, terhitung inclusive inklusif, termasuk belonging termasuk verb belong termasuk, tergolong, kepunyaan be included termasuk, dicantumkan, masuk appertain berhubungan, tergolong, termasuk Presented by Indo Art Link and John Cruthers in association with Darren Knight Gallery, 19 January – 16 February 2019. Darren Knight Gallery, Sydney 840 Elizabeth Street, Waterloo NSW 2017 Australia Foreword Aaron Seeto Director, Museum MACAN, Jakarta As I gather my thoughts to write this foreword, my news feed is filled with images of the most recent natural disaster in Indonesia. The volcano Anak Krakatau, or ‘child of Krakatau’, has partly collapsed and a tsunami follows – with few warnings and a sharply rising death toll. Persisting mental images of natural disasters, along with natural resources and terrorism, may be the limits of the Australian imagination of Indonesia. With a population of over 265 million people and a rich ethnic and religious diversity mixed with a complex colonial and national history, for Australia there is much more to understand. The same may be said for the art world. Beyond small pockets of interest within museum collections, cohorts of curators and art historians, and specialised collectors, the impact of Australia’s geographic proximity on the quality of our cultural understanding of our nearest neighbour is limited. In the late 1990s and 2000s, there was a wave of interest coinciding with the participation of several important artists in exhibitions in Australia, South East Asia and elsewhere – names like Heri Dono, Dadang Christanto, Arahmaiani, Tisna Sanjaya and FX Harsono, who should be better known here, not only because of their participation in 2 3 exhibitions like the Asia Pacific Triennial, or for some, in projects such as the Artist Regional Exchange in the 1980-1990s, but because their work is fundamental to an understanding of Indonesian art, at a particular social and political moment. -
Cabinet of Wonders One Sheet
A one of a kind variety show with celebrated musicians, writers and comedians. You'll laugh, think and sing along. Sometimes all at once. A little bit vaudeville, a little bit literary and a lot of rock n' roll— you can never predict what's inside the Cabinet of Wonders. Welcome to the Cabinet of Wonders, a one-of-a-kind variety show featuring world-famous musicians, leading novelists, and comedians in a rare showcase of talent hosted and curated by musician and “One of the finest nights of entertainment this city has to offer.” author Wesley Stace. Since its inception in 2009, Cabinet of Wonders has established itself in New York, and on tour in “Inspired silliness…the audience roared in delight.” the USA and Europe, as an exciting stage for both prominent and emerging voices in music, literature and comedy. Stace originally conceived Cabinet of Wonders as a way to bring together his creative friends; he handpicks the performers and facilitates unusual onstage collaborations for each show, managing to weave the diverse lineup into an unforgettable night. An acclaimed artist "Like an awesome mythological beast ... another fantastic hybrid creation." in his own right, Stace has released 16 albums under the name John Wesley Harding, one under his birth name, and published four novels. "See what all the buzz is about. A brilliant evening of laid-back fun." "A deeply transcendent experience.” Cabinet of Wonders has featured appearances by: A.M.HOMES CHRIS VON SNEIDERN ELIZABETH ZIMAN JOAN OSBORNE KWAME DAWES MIKE BIRBIGLIA RON LYNCH THE CITIZENʼS -
August 19, 2005 | Section Three Chicago Reader | August 19, 2005 | Section Three 5
4CHICAGO READER | AUGUST 19, 2005 | SECTION THREE CHICAGO READER | AUGUST 19, 2005 | SECTION THREE 5 [email protected] The Meter www.chicagoreader.com/TheMeter The Treatment A day-by-day guide to our Critic’s Choices and other previews friday 19 VORTIS If you told me five years ago that the most c compelling front man in the Chicago punk scene this decade would be a sixty-something political science professor with an anarchist ax to grind, I would’ve said, “Well sure, why not?” I’d like to think we’re above obsessing over a guy’s age just because he’s not in the usual 15-to-25 punk-draftable demographic. F.T., aka Fellow Traveler, aka Mike Weinstein of Purdue University, comes at you with a fiendish gravitas, rat- tling off hardcore antiauthoritarian manifestos and voicing all the bad thoughts (“I want to have my own suitcase bomb”) that regular folks are afraid to express these days. Onstage he works a street-preacher-Jello Biafra persona, getting in your face with wild eyes full of conviction—you just know his brain’s filled with the footnotes to back up his lyrics. Vortis’s forthcoming album, Warzone, is mean, tight, righteously pissed, and full of hooky, nasty sloganeering choruses—and if you’re like me you might relish the frisson of hearing yourself chanting them. While guitarist G.Haad, bassist J.Los, and drummer D!yro (aka Sun-Times rock critic Jim DeRogatis) stay anchored in familiar punk most of the time, they also Y sound ready to go anywhere Weinstein might lead them, GORE which only helps him scare audiences even more.