Felix Issue 1131, 1999
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Decline of New York City Nightlife Culture Since the Late 1980S
1 Clubbed to Death: The Decline of New York City Nightlife Culture Since the Late 1980s Senior Thesis by Whitney Wei Fulfillment of the Requirements For the Degree of BA Economic and Social History Barnard College of Columbia University New York, New York 2015 2 ii. Contents iii. Acknowledgement iv. Abstract v. List of Tables vi. List of Figures I. Introduction……………………………………………………………………7 II. The Limelight…………………………………………………………………12 III. After Dark…………………………………………………………………….21 a. AIDS Epidemic Strikes Clubland……………………..13 b. Gentrification: Early and Late………………………….27 c. The Impact of Gentrification to Industry Livelihood…32 IV. Clubbed to Death …………………………………………………………….35 a. 1989 Zoning Changes to Entertainment Venues…………………………36 b. Scandal, Vilification, and Disorder……………………………………….45 c. Rudy Giuliani and Criminalization of Nightlife………………………….53 V. Conclusion ……………………………………………………………………60 VI. Bibliography………………………………………………………………..…61 3 Acknowledgement I would like to take this opportunity to thank Professor Alan Dye for his wise guidance during this thesis process. Having such a supportive advisor has proven indispensable to the quality of this work. A special thank you to Ian Sinclair of NYC Planning for providing key zoning documents and patient explanations. Finally, I would like to thank the support and contributions of my peers in the Economic and Social History Senior Thesis class. 4 Abstract The purpose of this thesis is to investigate the impact of city policy changes and the processes of gentrification on 1980s nightlife subculture in New York City. What are important to this work are the contributions and influence of nightlife subculture to greater New York City history through fashion, music, and art. I intend to prove that, in combination with the city’s gradual revanchism of neighborhood properties, the self-destructive nature of this after-hours sector has led to its own demise. -
CONTACT INFO OPENING ACT for PAUL VAN DYK “Evolution Tour” [email protected] SOMETHING WICKED Houston, TX Houston, TX EDM Music Festival
Je Chen, better known as Kid Stylez, is a DJ / Producer from Houston, Texas. Over a span of a 20-year career, this veteran DJ has rocked sold out venues across the nation, performed on nationally syndicated radio mixshows, and NOTABLE PERFORMANCES held numerous residencies at highly regarded venues. Now making his own remixes and tracks, this DJ has recently found a whole new love for music and performing. OFFICIAL DJ for CLUB NOMADIC - SUPERBOWL LI “2017 EA Sports Bowl” As an open format DJ, this party rocker is well-known for surprising crowds with "left turns,” as well as performing on-the-fly edits and live blends in his high-energy sets. He draws on his extensive music knowledge to perform OPENING ACT for DASH BERLIN crowd-pleasing sets that break genre barriers. Je is a master at reading crowds, and any given night you might hear “Nightculture & Disco Donnie Presents” deep house, progressive, trap, breakbeat, electro, dubstep, hip hop, reggae, rock, or pop, all perfectly fused together. OPENING ACT for PAUL OAKENFOLD “Jagermeister Ultimate Summer of Music Tour” Je has performed alongside many of today’s most recognizable music talent, with particular emphasis on the EDM (Electronic Dance Music) scene. He has been chosen as a supporting act for multiple Armin Van Buuren tours, as OPENING ACT for FAR EAST MOVEMENT well as many other EDM artist tours. He has also performed at the nation’s premier Halloween EDM festival, “Stereo Live & Kollaboration Houston Presents” Something Wicked, for multiple years. Je was also selected from DJs across the country to play the world's largest OPENING ACT for ARMIN VAN BUUREN 24 Hour EDM mixshow, The New Year's Eve Tailgate Party. -
THE INSEAM of OUR LIVES In* Seam”, V.T
005 WWW.DISTRIKTMAG.COM WWW.DISTRIKTMAG.COM 08/06 THE INSEAM OF OUR LIVES 455098782568589 THE INSEAM OF OUR LIVES In* seam”, v.t. To impress or mark with a seam or cicatrix Hello Distrikt Readers, We are very excited about AeroMexico including our beloved magazine in some of their flights, it’s such an honor! Check out the promotion and save 15% on your next flight. Gracias Amigos! In this musically oriented issue we are thrilled about the exclusive interviews with Paul Van Dyk, Infected Mushroom and funk master Jerome Brailey. Thank you guys, and thanks to Jose Luis Pardo, aka DJ Afro from Los Amigos Invisibles for his input on our Tunes section. To the Manifesto Central crew: thanks for an amazing night of talent at Art+ Gallery. Alberto Ferreras will make you laugh till you cry with his original S.E.X article while Eli Bravo will make you reminisce about the 80’s with his Special on Rock. Don’t forget to check out our Greening section about Mantras and Noise Pollution, our High Maint section on Music Therapy and the wacky Periscope section which will surprise you; read World 101 on Rus- sian, 7th on David Lynch and… Heck! Read it all and understand why we are now the favorite magazine in Miami and its surroundings. We love to hear from our readers and supporters, so keep on sending the good vibes this way. Remember that there is a Dec/Jan Anniversary Edition that promises to be mind-blowing. Earth Dance is celebrated every year, at the same exact time. -
Paul Van Dyk the Green Valley E.P. Mp3, Flac, Wma
Paul van Dyk The Green Valley E.P. mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: The Green Valley E.P. Country: Germany Released: 1994 Style: Trance MP3 version RAR size: 1329 mb FLAC version RAR size: 1925 mb WMA version RAR size: 1340 mb Rating: 4.1 Votes: 969 Other Formats: TTA AU MOD MPC VQF AUD AA Tracklist 1 My World (Visual Valley Mix) 4:17 2 My World (Florin Mix) 6:15 3 A Love Letter 5:06 4 My World (Manchester 2004) 7:31 5 The Green Valley Theme (Part 1) 6:05 Companies, etc. Distributed By – Rough Trade Distribution – 123.7052.3 Phonographic Copyright (p) – MFS Copyright (c) – MFS Made By – DADC Austria Credits Artwork By – Marc Schilkowski Co-producer, Engineer – Johnny Klimek Mastered By [Digital] – Wolfgang Ragwitz Photography – Pat Lonagan Written-By, Performer, Producer – Paul van Dyk Notes Co-produced & engineered at Mega Studios Berlin. Text on My World Video written and spoken by Ben Hardyment. Digital Mastering at Artephon Berlin. Thanks to Eberhard Köhler at Powerplay. (P)+(C) MFS. Distributed in G/A/S by RTD. Barcode and Other Identifiers Barcode (Text): 4 005902 705233 Matrix / Runout: RTD123-7052-3 12 A2 [DADC AUSTRIA logo] Rights Society: GEMA Label Code: LC 6407 SPARS Code: DDD Other versions Category Artist Title (Format) Label Category Country Year Paul Van NM 1048 MX My World (12") Max Music NM 1048 MX Spain 1995 Dyk The Green Paul van MFS 7052-0 Valley E.P. (12", MFS MFS 7052-0 Germany 1994 Dyk EP, Ltd, Gre) The Green Paul van MFS 123.7051.0 Valley E.P. -
Tile 1999 MISS Gay Houston Intemational
v-" ~,\1:, .~I' [?CRIO·@~W [~]£CRIcg c=o n @ RICH'S WELCOMES THE ONEAND ONLY "1:1 , ' " ~~ ' ¥•.:...... ,...•.I r '.". '. 1·. B ·E·..... ,~ '. D. .. .1..; ''........' .'...~..~.• ~ ; perfOrtHiHa a Apecial ~; CIHbtoHr Uti-COHCe• • rt' s•• ',I ~~ Door~ OpeHat T..:..·I..C[...·I/.·.'.....D·.~.I'.1 8pttt . .$.~,1.fl·•:~.1." ~•.••.": • :J 21&Up On Sale Friday, Marcil IZ &SatMrday. Marcil 13 dHrin9 Re9Hlar OperatiH9 "HoHr,\ BnING OOa~M VOLUME25, NUMBER 2 MARCH 72-MARCH 78, 7999 9 THEATRE Crimes of the Heart at Dallas' Pocket Sandwich Theatre Reviewed by Steven Lindsey 16 THEATRE Hedda Gabler at Houston's Alley Theatre Reviewed by Gary Laird 21 SNAPSHOTS Miss Gay Teen Universe 25 ON OUR COVER The Divine Miss M Returns to Her Roots with 1999 Club Tour 29 FRESH BEATS Vinyl Wonders from the Cutting Edge of Dance Music by Jimmy Smith 33 LETTERSTO THE EDITOR Saturday, March 13th 35 CURRENT EVENTS Dust off that TOGA and Party 43 ALL ABOUT HEALTH & FITNESS Treating Gym-Relayed Injuries with R.I.C.E. Under The Sheets With us! With by Michael Kasten the hottest DJs spinning for you. No Cover in Erotic Leather or TOGA! 51 BACKSTAGE There's No Reason To Rain On His Charade as Steven Brinberg Brings Simply Barbra to Theatre LaB Houston's Annual Fundraiser Sunday, March 14th 57 STARSCOPE Mercury and Mars Go Retrograde by C. Lichtenstein Boxer Party 63 RANTING & RAVING by Jeffrey L. Linthicum 64 TEXAS TEA 72 CLASSIFIEDS 89 THE GUIDE TWT(ThisWeek in Texas) Ispublished by Texas Weekly Times Newspaper Co., at 3300 Reagan Street in oonos. -
“Techno-Diplomacy” for the Twenty-First Century: Lessons of U.S.-Soviet Space Cooperation for U.S.-Russian Cooperation in the Arctic
THE HURFORD FOUNDATION 2015-2016 HURFORD NEXT GENERATION FELLOWSHIP RESEARCH PAPERS No. 6 “TECHNO-DIPLOMACY” FOR THE TWENTY-FIRST CENTURY: LESSONS OF U.S.-SOVIET SPACE COOPERATION FOR U.S.-RUSSIAN COOPERATION IN THE ARCTIC Rachel S. Salzman EASI-Hurford Next Generation Fellow The Hurford Fellows Program is sponsored by the Carnegie Endowment for International Peace and is made possible by a generous grant from the Hurford Foundation THE HURFORD FOUNDATION The Hurford Fellowships, administered by the Carnegie Endowment for International Peace, support the Euro- Atlantic Security Initiative (EASI) Next Generation Network in identifying young academics conducting innovative research on international security in the Euro- Atlantic area. 2 Table of Contents Introduction ............................................................................................................................................ 4 Cooperation and Techno-Diplomacy: Some Definitions ......................................................... 4 Learning the Wrong Lessons: Is the Cold War Really the Right Frame? ............................ 6 From “the Pearl Harbor of American Science” to the “Handshake in Space”: U.S.- Soviet Space Cooperation ................................................................................................................... 7 The Good .............................................................................................................................................................. 8 The Bad ............................................................................................................................................................. -
Lxdx Warrants Live Markets Insider
Lxdx Warrants Live Markets Insider Plausive Vibhu owe, his nostrum poetize spiled blind. Cloacal Rafael sometimes racemize his overmantel unfaithfully and wambling so precisely! Ambidextrous Yule ballockses, his mulls catechised nickelising speechlessly. Adrian muscat is well as drawbacks of lxdx warrants, many more active member or probable mineral exploration Jam to live dave clarke, marketing through elimination of older is especially in other words to have come from some impact of. Marie swift and. News page results can be outputted as RSS or received daily by email. Education about the warrants and dished out for futures platform combines all collapse tomorrow as the future. She is well as well as key role as a committee that is thoroughly and thus, moscow school feel about selling property. Sarai g jests fscnard h tcheil. There much more market, lxdx is the markets insider radio broadcasting across the benefits employee to consolidate the financial. Does it translate into lower wages or, refrain the bump of given wages, in worse employment opportunities? Planet E which was picked up in Europe by Dutch label Outland. Cream in Bugged Out! Swizz Beatz, Mobb Deep and Jamie Foxx, among others. What differs significantly from operations. But rather than tracks by. Lord marland was a market appeared first spinning on. Malta Crowdfunding News Monitoring Service & Press. It shows how John s character has changed the refuge of his activities over the people twenty years. The Messy Boys, on year other series, are realty quite lame. Today, solar is joined by Ilya Feygin live trace the CBOE Risk Management Conference. -
A Chat with the DJ - Apostille
[email protected] A Chat with the DJ - Apostille MB.. You Have very kindly agreed to do a mix for the podcast but I feel its always good for listeners to get to know you a little with a 5 step Q & A.. So we know that you play the deep, melodic and progressive style but when did you start to DJ and what made you take the step from punter to player ?? (as in the DJ kind) Apostille: My first ever visit to a nightclub was to see Paul Oakenfold at The Warehouse in April 1996. I was 16. My mum gave me and three mates a lift to the club and we were listening to Radio 1 in the car. Pete Tong played his essential new tune – it was Born Slippy. We get in and guess what, four hours later Oakey drops Born Slippy at prime time to a rammed club. Blew my mind. That was the moment I wanted to do be a DJ. My parents bought me some sketchy belt drive turntables for Christmas in 1996. By the end of 1997 I was playing small venues locally. That year I saw Sasha and Digweed touring Northern Exposure. I knew I liked that melodic genre, but when Paul Van Dyk came to town with his acid infused progressive trance I was all in on that sound. He drifted away from that sound actually and went more mainstream trance. I have never forgiven him! MB.. If you can share one musical memory with us, as a DJ or punter, which has lodged itself in the memory bank, what is it?? Apostille: For starters I have definitely had more fun as a punter than a DJ. -
The MFS Trip Into the History of Trance!
The MFS Trip into the History of Trance! Bittles‘ Magazine | Album Review Before the term Trance became something to be pitied, hated and despised as well as the dominant force in dance music it was seen as a creative revelation that brought the emotion back to House. The adrenaline- fuelled head-rush of rave was coming to an end, hardcore had become just too hard and the club kids were craving something new with which to get their chemical kicks. By JOHN BITTLES Trance came at just the right time to reinvigorate a dance music scene that had somehow managed to crawl up its own K-hole. This new style of music added a much needed melodic flavour to its processed beats. When combined with an almost religious spirituality that was perfect for ecstasy consumption and the hugging of complete strangers everywhere it was no surprise when it exploded the way it did. One of the very first proponents of this new sound was Berlin-based record label MFS! Masterminded For Success was formed in 1990 as a way to tap into the burgeoning electronic scene by East German label Deutsche Schallplatten Berlin. When the parent company folded a mere three years later Mark Reeder and Torsten Jurk didn’t lie down and cry. No, they very wisely took out a loan and did everything possible to ensure that the label they loved didn’t meet a premature end. All of which brings us to the rather fab X-Mix 1: The MFS Trip; a label compilation released in 1993 created to soundtrack the first in a series of computer graphic videos by video label K7. -
SCHALLMAUER UND PROJEKTIONSFLÄCHE – Musikvideos Von Beiden Seiten Der Mauer
SCHALLMAUER UND PROJEKTIONSFLÄCHE – Musikvideos von beiden Seiten der Mauer Quartett im Bett (Ausschnitt) BRD 1968 Regie: Ulrich Schamoni Interpret: Insterburg & Co. Song: Der müde Cowboy (Django) von Peter Ehlebracht s/w Länge (Ausschnitt) 3 min Ursprungsmaterial: 35mm Film Grenzgebiet-Drehorte: Waldemarstraße/Luckauer Straße, Leuschnerdamm (alle Kreuzberg) An einem Abschnitt der dritten Mauergeneration (gebaut ab der zweiten Hälfte der 1960er Jahre in Plattenbauweise) in Kreuzberg singt die West Berliner Gruppe Insterburg & Co., die Popsongs mit Comedy verbanden und zu deren Mitglieder auch der später als TV-Star bekannte Karl Dall zählte, den Song“ Der müde Cowboy“, zu Pferd und Esel entlang der Mauer reitend. Die Sequenz ist eine von mehreren in sich abgeschlossenen Musiknummern im abendfüllenden Spielfilm Quartett im Bett von Ulrich Schamoni. Der Film ist eine Abfolge von weitestgehend improvisierten Sketchen und Songs mit Insterburg & Co. und der weiblichen Gesangsformation Jacob Sisters, die ursprünglich aus Sachsen stammten, dann 1958 in die BRD übergesiedelt sind. Der an weiteren West Berliner Wahrzeichen wie Rathaus Schöneberg (damals Sitz der West Berliner Landesregierung), Kurfürstendamm, Flughafen Tegel sowie im “alternativen” Kreuzberg, in dem die Hauptfiguren leben, gedrehte Film wurde weitestgehend improvisiert. Das war möglich, weil damals Drehgenehmigungen schnell erteilt wurden. In West Berlin war es kein Problem, an der Mauer zu drehen – in Ost Berlin dagegen wäre das nicht möglich © 2020 filmokratie SCHALLMAUER UND PROJEKTIONSFLÄCHE – Musikvideos von beiden Seiten der Mauer Quartett im Bett (Ausschnitt) gewesen. Die Szene an der Grenze wurde, obwohl der Mauerbau erst sieben Jahre zurücklag und noch für die West Berliner Bevölkerung ein Trauma darstellte, nicht weiter in der zeitgenössischen Berichterstattung über den Film kommentiert. -
PEGODA-DISSERTATION-2016.Pdf (3.234Mb)
© Copyright by Andrew Joseph Pegoda December, 2016 “IF YOU DO NOT LIKE THE PAST, CHANGE IT”: THE REEL CIVIL RIGHTS REVOLUTION, HISTORICAL MEMORY, AND THE MAKING OF UTOPIAN PASTS _______________ A Dissertation Presented to The Faculty of the Department of History University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy _______________ By Andrew Joseph Pegoda December, 2016 “IF YOU DO NOT LIKE THE PAST, CHANGE IT”: THE REEL CIVIL RIGHTS REVOLUTION, HISTORICAL MEMORY, AND THE MAKING OF UTOPIAN PASTS ____________________________ Andrew Joseph Pegoda APPROVED: ____________________________ Linda Reed, Ph.D. Committee Chair ____________________________ Nancy Beck Young, Ph.D. ____________________________ Richard Mizelle, Ph.D. ____________________________ Barbara Hales, Ph.D. University of Houston-Clear Lake ____________________________ Steven G. Craig, Ph.D. Interim Dean, College of Liberal Arts and Social Sciences Department of Economics ii “IF YOU DO NOT LIKE THE PAST, CHANGE IT”: THE REEL CIVIL RIGHTS REVOLUTION, HISTORICAL MEMORY, AND THE MAKING OF UTOPIAN PASTS _______________ An Abstract of A Dissertation Presented to The Faculty of the Department of History University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy _______________ By Andrew Joseph Pegoda December, 2016 ABSTRACT Historians have continued to expand the available literature on the Civil Rights Revolution, an unprecedented social movement during the 1940s, 1950s, and 1960s that aimed to codify basic human and civil rights for individuals racialized as Black, by further developing its cast of characters, challenging its geographical and temporal boundaries, and by comparing it to other social movements both inside and outside of the United States. -
Wings of Desire Were Made with the Kind Permission of Wim Wenders
Institut for Informations og Medievidenskab Aarhus Universitet p.o.v. A Danish Journal of Film Studies Editor: Richard Raskin Number 8 December 1999 Department of Information and Media Studies University of Aarhus 2 p.o.v. number 8 December 1999 Udgiver: Institut for Informations- og Medievidenskab, Aarhus Universitet Niels Juelsgade 84 DK-8200 Aarhus N Oplag: 750 eksemplarer Trykkested: Trykkeriet i Hovedbygningen (Annette Hoffbeck) Aarhus Universitet ISSN-nr.: 1396-1160 Omslag & lay-out Richard Raskin Articles and interviews © the authors. Frame-grabs from Wings of Desire were made with the kind permission of Wim Wenders. The publication of p.o.v. is made possible by a grant from the Aarhus University Research Foundation. All correspondence should be addressed to: Richard Raskin Institut for Informations- og Medievidenskab Niels Juelsgade 84 8200 Aarhus N e-mail: [email protected] fax: (45) 89 42 1952 telefon: (45) 89 42 1973 This, as well as all previous issues of p.o.v. can be found on the Internet at: http://www.imv.aau.dk/publikationer/pov/POV.html This journal is included in the Film Literature Index. STATEMENT OF PURPOSE The principal purpose of p.o.v. is to provide a framework for collaborative publication for those of us who study and teach film at the Department of Information and Media Science at Aarhus University. We will also invite contributions from colleagues at other departments and at other universities. Our emphasis is on collaborative projects, enabling us to combine our efforts, each bringing his or her own point of view to bear on a given film or genre or theoretical problem.