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RADICAL ARCHIVES Presented by the Asian/Pacific/American Institute at NYU Curated by Mariam Ghani and Chitra Ganesh
a/p/a RADICAL ARCHIVES presented by the Asian/Pacific/American Institute at NYU curated by Mariam Ghani and Chitra Ganesh Friday, April 11 – Saturday, April 12, 2014 radicalarchives.net Co-sponsored by Asia Art Archive, Hemispheric Institute, NYU History Department, NYU Moving Image Archive Program, and NYU Archives and Public History Program. Access the Internet with NYU WiFi SSID nyuguest login guest2 password erspasta RADICAL ARCHIVES is a two-day conference organized around the notion of archiving as a radical practice, including: archives of radical politics and practices; archives that are radical in form or function; moments or contexts in which archiving in itself becomes a radical act; and considerations of how archives can be active in the present, as well as documents of the past and scripts for the future. The conference is organized around four threads of radical archival practice: Archive and Affect, or the embodied archive; Archiving Around Absence, or reading for the shadows; Archives and Ethics, or stealing from and for archives; and Archive as Constellation, or archive as method, medium, and interface. Advisory Committee Diana Taylor John Kuo Wei Tchen Peter Wosh Performances curated Helaine Gawlica (Hemispheric Institute) with assistance from Marlène Ramírez-Cancio (Hemispheric Institute) RADICAL ARCHIVES SITE MAP Friday, April 11 – Saturday, April 12 KEY 1 NYU Cantor Film Center 36 E. 8th St Restaurants Coffee & Tea 2 Asian/Pacific/American Institute at NYU 8 Washington Mews Cafetasia Cafe Nadery Oren’s 3 NYU Bobst -
New York University Bulletin
New York University Bulletin Steinhardt School of Culture, Education and Human Development New York University Washington Square New York, New York 10003 NOTICES About this Bulletin The policies, requirements, course offerings, schedules, activities, tuition, fees, and calendar of the school and its departments and programs set forth in this bulletin are subject to change without notice at any time at the sole discretion of the administration. Such changes may be of any nature, including, but not limited to, the elimination of the school or college, programs, classes, or activities; the relocation of or modification of the content of any of the foregoing; and the cancellation of scheduled classes or other academic activities. Payment of tuition or attendance at any classes shall constitute a student’s acceptance of the administration ‘s rights as set forth herein. Fieldwork Placement Advisory Be advised that fieldwork placement facilities that provide training required for your program degree, and agencies that issue licenses for practice in your field of study, each may require you to undergo general and criminal background checks, the results of which the facility or agency must find accept able before it will allow you to train at its facility or issue you a license. You should inform yourself of offenses or other facts that may prevent you from obtaining a license to practice in your field of study. NYU Steinhardt will not be responsible if you are unable to complete program requirements or cannot obtain a license to practice in your field because of the results of such background checks. Some fieldwork placement facilities in your field of study may not be available to you in some states due to local legal prohibitions. -
Reinblättern (Pdf)
Philipp Meinert Von den Sechzigern bis in die Gegenwart Philipp Meinert, 1983 ausgerechnet in Gladbeck geboren, erlebte im Ruhrgebiet eine solide Punksozialisation. Inhalt Studium der Sozialwissenschaften in Bochum. Seit 2010 neben seiner Lohnarbeit regelmäßiger Schreiber und Interviewer für verschiedene Online- und Print- medien, hauptsächlich für das »Plastic Bomb Fanzine«. Über dieses Buch und Einleitung ...................................... 9 2013 gemeinsam mit Martin Seeliger Herausgeber des Sammelbandes »Punk in Deutschland. Sozial- und kultur- »A walk on the wild side« 15 wissenschaftliche Per spektiven«. Lebt in Berlin. Die ziemlich queere Welt des Prä-Punks in New York ................... Lou Reed: Der bisexuelle Pate des Punk .................................. 17 Glam: Glitzernde Vorzeichen des Punk .................................. 25 »Personality Crisis« Die New York Dolls als Bindeglied 30 zwischen Punk und Glam ............................................. »Hey little Girl! I wanna be your boyfriend.« Mit den Ramones 35 wird es heterosexueller................................................ »Immer der coolste Typ im Raum« - Interview Danny Fields ............... 38 »Man Enough To Be a Woman« – Jayne County, die transsexuelle 44 Punkgeburtshelferin ................................................... Punk-Genese in England .............................................. 57 Die englische Punkrevolution als kreative Befreiung von Frauen ............. 67 Interview mit Bertie Marshall ......................................... -
Ramones 2002.Pdf
PERFORMERS THE RAMONES B y DR. DONNA GAINES IN THE DARK AGES THAT PRECEDED THE RAMONES, black leather motorcycle jackets and Keds (Ameri fans were shut out, reduced to the role of passive can-made sneakers only), the Ramones incited a spectator. In the early 1970s, boredom inherited the sneering cultural insurrection. In 1976 they re earth: The airwaves were ruled by crotchety old di corded their eponymous first album in seventeen nosaurs; rock & roll had become an alienated labor - days for 16,400. At a time when superstars were rock, detached from its roots. Gone were the sounds demanding upwards of half a million, the Ramones of youthful angst, exuberance, sexuality and misrule. democratized rock & ro|ft|you didn’t need a fat con The spirit of rock & roll was beaten back, the glorious tract, great looks, expensive clothes or the skills of legacy handed down to us in doo-wop, Chuck Berry, Clapton. You just had to follow Joey’s credo: “Do it the British Invasion and surf music lost. If you were from the heart and follow your instincts.” More than an average American kid hanging out in your room twenty-five years later - after the band officially playing guitar, hoping to start a band, how could you broke up - from Old Hanoi to East Berlin, kids in full possibly compete with elaborate guitar solos, expen Ramones regalia incorporate the commando spirit sive equipment and million-dollar stage shows? It all of DIY, do it yourself. seemed out of reach. And then, in 1974, a uniformed According to Joey, the chorus in “Blitzkrieg Bop” - militia burst forth from Forest Hills, Queens, firing a “Hey ho, let’s go” - was “the battle cry that sounded shot heard round the world. -
Craig Highberger Hattie Hathaway/Brian Butterick Jackie Dearest Pictures of Ethyl in My Head
Excerpt from When Jackie Met Ethyl / Curated by Dan Cameron, May 5 – June 1, 2016 © 2016 Howl! Arts, Inc. Excerpt from When Jackie Met Ethyl / Curated by Dan Cameron, May 5 – June 1, 2016 © 2016 Howl! Arts, Inc. Page 1 Page 1 Craig Highberger Hattie Hathaway/Brian Butterick Jackie Dearest Pictures of Ethyl in My Head Meeting Jackie Curtis during my first week at NYU Film School in 1973 and becoming his friend was one Ethyl Eichelberger, my sister, my mentor, my friend… of the most propitious things that has ever happened in my life. Knowing Jackie right after high school truly In 1986, I had the brilliant idea to do hardcore skinhead music matinees for all ages on Saturdays, at freed me, inspired my intellect, and opened my mind to possibilities I had never dreamed of. 3 p.m. at the Pyramid. Ethyl knew the club would be open early, so she came by to get ready for an early As Lily Tomlin and others clarified in my documentary, Jackie Curtis lived his life as performance art, show somewhere. I went down to the basement dressing room, when the club was packed, to talk to the rejecting conventional gender classification and shifting freely between female and male as he liked. One bands and there was Ethyl, surrounded by 25 somewhat homophobic skinhead boys with tattoos and day Jackie would be in James Dean mode, scruffy and unshaven, in blue denim and a t-shirt, with a pack bleachers who were enthralled by her and her makeup application. of Kools in one rolled-up sleeve. -
Christian Ricci Behind the Scenes in New York – Fall 2020 Assignment #1 October 05, 2020 1 Opened in 1973 on Bowery in Manhatt
Christian Ricci Behind the Scenes in New York – Fall 2020 Assignment #1 October 05, 2020 Opened in 1973 on Bowery in Manhattan’s East Village, CBGB was a bar and music venue which features prominently in the history of American punk rock, New Wave and Hardcore music genres. The club’s owner, Hilly Kristal, was always involved with music and musicians, having worked as a manager at the legendary jazz club Village Vanguard booking acts like Miles Davis. When CBGB first opened its doors in the early seventies the venue featured mostly country, blue grass, and blues acts (thus CBGB) before transitioning over to punk rock acts later in the decade. Many well know performers of the punk rock era received their start and earliest exposure at the club, including the Ramones, Patti Smith, Television, Blondie, and Joan Jett. During the New Wave era, performers like Elvis Costello, Talking Heads and even early performances from the Police graced the stage in the now legendary venue. Located at 315 Bowery, which is situated near the northern section of Bowery before it splits into 3rd and 4th Avenues at Cooper square, the original building on the site was constructed in 1878 and was used as a tenement house for 10 families with a shop (liquor store) on the ground floor. In 1934, 315 and 313 were combined into one building and the façade was redesigned and constructed in the Art Deco style, as documented in the 1940 tax photo. At that time, the building was occupied by the Palace Hotel with a ground floor saloon. -
Jayne County Paranoia Paradise Curated by Michael Fox February 4 – March 11, 2018 Opening Reception, Sunday, February 4, 7-9Pm
For Immediate Release contact [email protected], 646-492-4076 Jayne County Paranoia Paradise Curated by Michael Fox February 4 – March 11, 2018 Opening Reception, Sunday, February 4, 7-9pm I think that my art serves as a way of putting out the fuse before it becomes a ballistic bomb of some sort. Some people are at odds with the world and they become serial killers, and others become artists. –Jayne County From February 4 – March 11, 2018, PARTICIPANT INC is honored to present Jayne County, Paranoia Paradise, the first retrospective exhibition of County’s visual artwork, curated by Michael Fox. Although County’s artistic output began in experimental theater in the late 1960s-early ‘70s, including work with Theater of the Ridiculous and in Andy Warhol’s Pork, she is perhaps most well-known as a rock singer and performer. This exhibition takes its title from one of County’s songs, Paranoia Paradise, which she famously performed as the character of “Lounge Lizard” in Derek Jarman’s 1978 film, Jubilee. Selections of her earliest known paintings and works on paper made in the early ‘80s while living in Berlin will be exhibited alongside works made up until the present, with approximately eighty pieces on view from County’s studio as well as several private collections. A presentation of related ephemeral materials from County’s archive, as well as photographs by Bob Gruen, Leee Black Childers, and Michael Fox will accompany the exhibition and further illuminate her legendary contributions to music, film, performance, as well her role as forebear and gender pioneer as the first openly transgender rock performer. -
NY ACKER Awards Is Taken from an Archaic Dutch Word Meaning a Noticeable Movement in a Stream
1 THE NYC ACKER AWARDS CREATOR & PRODUCER CLAYTON PATTERSON This is our 6th successful year of the ACKER Awards. The meaning of ACKER in the NY ACKER Awards is taken from an archaic Dutch word meaning a noticeable movement in a stream. The stream is the mainstream and the noticeable movement is the avant grade. By documenting my community, on an almost daily base, I have come to understand that gentrification is much more than the changing face of real estate and forced population migrations. The influence of gen- trification can be seen in where we live and work, how we shop, bank, communicate, travel, law enforcement, doctor visits, etc. We will look back and realize that the impact of gentrification on our society is as powerful a force as the industrial revolution was. I witness the demise and obliteration of just about all of the recogniz- able parts of my community, including so much of our history. I be- lieve if we do not save our own history, then who will. The NY ACKERS are one part of a much larger vision and ambition. A vision and ambition that is not about me but it is about community. Our community. Our history. The history of the Individuals, the Outsid- ers, the Outlaws, the Misfits, the Radicals, the Visionaries, the Dream- ers, the contributors, those who provided spaces and venues which allowed creativity to flourish, wrote about, talked about, inspired, mentored the creative spirit, and those who gave much, but have not been, for whatever reason, recognized by the mainstream. -
Winter 2002 (PDF)
CIVILRIGHTS WINTER 2002 JOURNAL ALSO INSIDE: EQUATIONS: AN INTERVIEW WITH BOB MOSES FLYING HISTORY AS SENTIMENTAL EDUCATION WHILE WHERE ARE YOU REALLY FROM? ASIAN AMERICANS AND THE PERPETUAL FOREIGNER SYNDROME ARAB MANAGING THE DIVERSITY Lessons from the Racial REVOLUTION: BEST PRACTICES FOR 21ST CENTURY BUSINESS Profiling Controversy U.S. COMMISSION ON CIVIL RIGHTS CIVILRIGHTS WINTER 2002 JOURNAL The U.S. Commission on Civil Rights is an independent, bipartisan agency first established by Congress in 1957. It is directed to: • Investigate complaints alleging that citizens are being deprived of their right to Acting Chief vote by reason of their race, color, religion, sex, age, disability, or national origin, Terri A. Dickerson or by reason of fraudulent practices; • Study and collect information relating to discrimination or a denial of equal Managing Editor protection of the laws under the Constitution because of race, color, religion, sex, David Aronson age, disability, or national origin, or in the administration of justice; Copy Editor • Appraise federal laws and policies with respect to discrimination or denial of equal Dawn Sweet protection of the laws because of race, color, religion, sex, age, disability, or national origin, or in the administration of justice; Editorial Staff • Serve as a national clearinghouse for information in respect to discrimination or Monique Dennis-Elmore denial of equal protection of the laws because of race, color, religion, sex, age, Latrice Foshee disability, or national origin; Mireille Zieseniss • Submit reports, findings, and recommendations to the President and Congress; • Issue public service announcements to discourage discrimination or denial of equal Interns protection of the laws. Megan Gustafson Anastasia Ludden In furtherance of its fact-finding duties, the Commission may hold hearings and issue Travis McClain subpoenas for the production of documents and the attendance of witnesses. -
Smith Alumnae Quarterly
ALUMNAEALUMNAE Special Issueue QUARTERLYQUARTERLY TriumphantTrT iumphah ntn WomenWomen for the World campaigncac mppaiigngn fortififorortifi eses Smith’sSSmmitith’h s mimmission:sssion: too educateeducac te wwomenommene whowhwho wiwillll cchangehahanngge theththe worldworlrld This issue celebrates a stronstrongerger Smith, where ambitious women like Aubrey MMenarndtenarndt ’’0808 find their pathpathss Primed for Leadership SPRING 2017 VOLUME 103 NUMBER 3 c1_Smith_SP17_r1.indd c1 2/28/17 1:23 PM Women for the WoA New Generationrld of Leaders c2-50_Smith_SP17.indd c2 2/24/17 1:08 PM “WOMEN, WHEN THEY WORK TOGETHER, have incredible power.” Journalist Trudy Rubin ’65 made that statement at the 2012 launch of Smith’s Women for the World campaign. Her words were prophecy. From 2009 through 2016, thousands of Smith women joined hands to raise a stunning $486 million. This issue celebrates their work. Thanks to them, promising women from around the globe will continue to come to Smith to fi nd their voices and their opportunities. They will carry their education out into a world that needs their leadership. SMITH ALUMNAE QUARTERLY Special Issue / Spring 2017 Amber Scott ’07 NICK BURCHELL c2-50_Smith_SP17.indd 1 2/24/17 1:08 PM In This Issue • WOMEN HELPING WOMEN • A STRONGER CAMPUS 4 20 We Set Records, Thanks to You ‘Whole New Areas of Strength’ In President’s Perspective, Smith College President The Museum of Art boasts a new gallery, two new Kathleen McCartney writes that the Women for the curatorships and some transformational acquisitions. World campaign has strengthened Smith’s bottom line: empowering exceptional women. 26 8 Diving Into the Issues How We Did It Smith’s four leadership centers promote student engagement in real-world challenges. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.