DOCSLIB.ORG

Tõmbas Kor- Rammile Ja Ruumilahendustele Maailma Kontekstis Samuti Rikkalik

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tõmbas Kor- Rammile Ja Ruumilahendustele Maailma Kontekstis Samuti Rikkalik SUVE ERILEHT 2018 2 : SUVE ERILEHT 2018 JUHTKIRI SILLERDAV SUVI JA SÜÜTUNDE SURM Pidulike marsihelide saatel astus UFOst kivile Võlur ja teatas: „Mul on teile kõigile tähtis uudis – meie piirkonda on tabanud igavene suvi!” (Tõnu Trubetsky ja Juhan Habicht „Igavene suvi”, Vikerkaar 1/1990) Mõned head aastad tagasi esitles maestro Rein Veidemann oma sed söövad su ära. Selles sektoris raha liigub, Valdur Mikita olgu vast valminud raamatut „101 eesti kirjandusteost”. Esitlus koosnes õnnistatud, ja asi seegi. Eesti majandus peab suvele vastu. minu ja Reinu vestlusest ning muidugi tuli kõne alla autori töömee- tod, sest kuulajad tahavad ju väga teada, kuidas kirjanik kirjutab. SUVI KUI MEIE SAKURA Isand Veidemann rääkis talle omasel eksalteeritud moel, kuidas põhi- Sarnaselt iga teise aastaajaga on suvi ja selle tajumine personaalne, osa sellest raamatust valmis nõnda, et ta istus kaunil ja ülikuumal see tähendab, et suve olemuse määrab vaatleja. Kui vaatleja on vin- suvekuul oma kodukabinetis aluspesu väel ja muudkui kirjutas. Kõi- gus, on suvi vingus, kui vaatleja on õnnelik, on suvi õnnelik. Kahjuks gile esitlusel viibijatele tuli see pilt elavalt silme ette ja suvi kui sel- painab personaalsust nüüd line omandas uue värvingu, millest ei puudunud teatud kuumvalk- isegi suurem kollektiviseeri- SUVEJUHTKIRI jad alatoonid. mine kui kolhooside rajami- Suvi on idee kohaselt aasta kauneim aeg, aga idee ja praktika ei se aegu, mistap pole kerge käi alati kokku. „Suvi, sillerdav suvi, lõputult pikk on päev, kauaks jääda avalikult iseendaks ja nõnda nüüd jälle jääb. Suvi, vallatu suvi, laotuses väike naer, nüüd on oma isikliku suvetunde loo- rõõmudeks antud aeg,” laulis kunagi Jaak Joala ja me ju kõik teame, jaks. Mitte et keegi solvuks kui kurvalt ta lõpetas. märgatavalt sedastuse pea- le, et suvi on nõme ja tu- SUVE MAJANDUSLIK KASU leks ära keelata, aga nõnda Enamikule eestlastele suvi meeldib. Põhjus on eelkõige majanduslik. irdud sa kollektiivist, kui- Külmal ajal kulub küttele rohkem raha kui soojal. Kõik, mis võimal- tahes väike see ka poleks, dab raha kokku hoida, on väga hea ja indiviidi tasandil nauditav. mis on tänapäeval isegi suu- Isegi kui tekivad teatud spetsiaalsed suvised kulutused, näiteks tu- rem patt kui oma naabri ter- leb uus muruniiduk või grill osta, ei löö need eelarvesse väga suurt rassi himustamine. auku, sest mõlemad kestavad enamasti vähemalt kolm-neli hooae- Paljud kliimateadlased on ga. Pealegi võib saavutada märgatava kokkuhoiu, kui rentida muru- kleepinud oma autodele vii- niiduki ostmise asemel olematu summa eest lammas ja lasta osaval mastel aastatel sildi Eesti meistrimehel poegrilli asemel jalgadel metallristtahukas kokku kee- kontuuri ja tekstiga „Siin ei vitada. Töö teevad mõlemad ideaalselt ära ja pappi jääb järele. ole Aafrika!”. Tegemist on Harilik palja ülakehaga keskealine eesti mees suvistes oludes. Foto: erakogu Söök, millele kulub talvel palju raha, sest keha vajab külmaga hakka- vajaliku meeldetuletusega, masaamiseks rohkem energiat, on üks peamine kuluallikas suvelgi. omamoodi memento mori: rõõmusta, eestlane, naudi seda sooja ja Kõik, kellel hoovis, merekaldal või rõdul vähegi võimalik, hakkavad kaunist suveviivu, sest peagi tulevad sügis ja külm talv ning suvest suvel liha või mingeid juurikaid grillima. Überrikkad inimesed osta- jääb vaid mälestus, sest siin ei ole Aafrika – ilmad lähevad ajapikku vad juba eelnevalt marineeritud lihapakke ja -ämbreid, aga vaesed hullemaks. hangivad korraliku käntsaka seakaelakarbonaadi, lõikavad tükkideks, Kui toimetajaga Müürilehe sellestsinasest suvenumbrist kõnelesi- segavad sibula, küüslaugu, äädika, pipra, soola ja suhkruga läbi, jäta- me, rääkis Maia, et oli käinud Hiiumaal ja seal olla kõik nii hästi, ilm vad seisma ning küpsetavad sütel nagu õiged mehed kunagi, rüüba- ja elu üldse nii ilusad olnud, et millegi üle ei saanud vinguda. „Mõtle,” tes peale Lätist toodud odavat õlut. ütles Maia, „kui see nüüd ongi septembri keskpaigani nii, siis mis Riideid kulub suvel muidugi vähem. Põhimõtteliselt koosneb suve- meie identiteedist järele jääb.” mood unisex-rõivakomplektidest, mille alumise osa moodustavad Õigustatud küsimus: mis meist saaks, kui meie piirkonda tabaks kulumiskindlast õhukesest materjalist lühikesed püksid ja ülemise igavene suvi? Majandus on meil paindlik ehk orienteerutaks ümber rolli täidab mingi maika. Suvi on ainu- ja elu läheks edasi. Põhiküsimus on tõesti meie identiteedis. See, ke aastaaeg, mil paksud keskealised et oleme harjunud külmal ajal virisema, et liiga külm on, ja soojal mehed on riietuses kõige kokku- ajal virisema, et liiga soe on, on nii läbi käiatud teema, et sellel pole Märgatava kokkuhoiu võib saa- hoidlikum ühiskonnarühm, sest nad mõtet rohkem peatuda. Kui aga võtame ära ühe konstandi – külma vutada, kui rentida muruniiduki võivad piirduda vabalt ainult alumi- ilma –, siis kaotab mõtte virisemine sooja üle, sest inimene, kes kur- se osaga. Kunagi täheldasingi, et es- dab erinevatel aastaaegadel erinevate olude üle, on tundlik natuur, ostmise asemel olematu summa mased suvekuulutajad ei ole mitte aga see, kes kurdab pidevalt ühe ja sama asja üle, on tüütu targutaja, eest lammas. õide puhkenud luuviljalised puud kes on ohuks nii iseendale kui ka teistele. või pääsukeste trillerdav laul „midli- Kui jätta ilma üle kurtmine ära, võib tulemuseks olla silmade ava- madli-kudli-kadli-teeme-seksi-ja- nemine. Ilm on kogu aeg ilus ja mõnus, sellest ei ole midagi kõne- siis-pesa”, vaid hoopis linnapilti il- leda, selle üle ei pea sugugi muretsema, ning siis hakkab inimene muvad palja ülakehaga tüsedad mehed. Neid vaadates tekib endalgi selgelt ümbritsevat vaatama. Ja mida ta avastab? Avastab, et armas- tahtmine tavapärane võrkmaika seljast visata ja päikese armastust tatu on tegelikult kole nagu öö ja loll nagu lammas. Avastab, et pea- tunda. minister Jüri Ratas on tegelikult sümpaatne manjaanalik mõtleja, Personaalne kokkuhoid mõjub paraku laastavalt Eesti majanduse- kelle elufilosoofia on nagu sümbioos siestast ja sangriast. Avastab, le tervikuna. Kui inimesed kulutavad vähem, siis majandus ei kas- et eesti filmid on kõik nii kuradi masendavad, et neid tohiks ainult va. Sundida inimesi suvel kasukaid ostma on üsna lootusetu ette- Tristan Priimägi vaadata. Või siis midagi palju hullemat. võtmine. Igavene suvi, mida võime kaunil ajal küll igatseda, on kõige hullem Rannas lesiv kodanik on põhimõtteliselt paljas antikodanik, kelle asi, mis Eestiga juhtuda saaks. Talvekartus ja suveootus on meie ainus panus saja-aastase Eesti arengusse on (veel) aktsiisivaba jääti- vaimline vundament. Vanarahvas ütles, et „suvel tehakse rege, tal- se ostmine. Riiklike sunnimehhanismide rakendamiseks võib minna vel vankert” – kui jätame sellest doktriinist pool ära, kukub kõik kaasa uuspuritaanlusega ning hakata nõudma rannalistelt rohkem kokku. ihu katvate rõivaste kandmist, ja sealt on ratastel merevette lükata- Suve mõte ja kaunidus on tema kaduvuses. Suvekuud on meie sa- vate piletitega supelmajakesteni ainult üks samm. kura ja kehastavad kõige ajutisust ning eestlaseks olemise võimsust. Nii hulluks asjad ilmselt ei lähe, riik ju peab inimestele kas või Parafraseerime Kogujat: „Rõõmusta, eestlane, juunis, juulis ja au- hambad ristis teatavat heaolu võimaldama. Suvel on see võima- gustis ja su süda olgu rõõmus suvepäevil. Käi oma palja ülakehaga lik, sest riigi kulud on ju samuti veidi väiksemad. Mingit olulist kasu ringi ja mine, kuhu silmad sind juhivad, aga tea, et talvel pead sa lund Kaupo Meiel on eesti suvi kellelegi ei too, aga kahju ka mitte, nii et usutavasti võime selle rookima.” literaat, kellele ei meeldi, kui aastaaja olemasoluga lihtsalt leppida, ilma et kedagi rahvavaenla- Suvi on käes, laskem eestluse sügavaimast essentsist – süütundest – teda literaadiks nimetatak- seks nimetataks. korrakski lahti ning olgem selles ilus ja mõnus, kuulakem suvetuuril se. Kirjastuse Post Factum Pealegi leidub Eestis päris palju turismitalusid, mis küsivad ööbi- Patust Poolt, söögem ülehinnatud šašlõkki ja joogem leiget Valmier- toimetaja. Sel kevadel ilmus mise eest kolmnurkses kopitanud kämpamajas kaks korda rohkem muižat, sest see on meie reerautamine, eelpension ja lunastus. tema, Elle-Mari Talivee, raha kui neljatärnihotell Barcelonas, sest kämpamajast kõigest saja Full disclosure: kirjutasin selle loo maikuu kuumal pühapäeval (taju- Peeter Helme ja Mari Niitra meetri kaugusel asub mingi soostunud kaldaga järveke ja järve üm- tav temperatuur 29 ºC) koduses kabinetis aluspesu väel. ühisteos „Just sellist Eestit. ber on puutumata ürgloodus, mis tegelikkuses tähendab, et seal on Eesti Vabariigi 101 aastat ja võimatu jalutada. Kui sa seda üritad, vajud põlvedeni mutta ja sää- Kaupo Meiel 101 suurkuju”. Esikaanel Ivar Murd. Foto: Aleksander Kelpman FESTIVAL SUVI 2018 : 3 SUVEFESTIVALIDE VÄLIMÄÄRAJA Võrreldes eelmise kevade-suvega, mil ainu- kord lisandunud uusi tulijaid, kuid jäänud õige riietus oli pigem talvemantel, on meid ka palju üritusi, mille toimumiskordi enam õnnistatud tänavu eriti varajaste sooja- kokku lüüa ei oskakski, kui keegi teine kraadidega, mis püsivad loodetavasti ka kuskil arvestust ei peaks. On ka festivale, siis, kui antud tekst trükivalgust näeb, ning nagu Kukemuru Ambient, Juu Jääb, Eesti muidugi kauemgi veel. Sel põhjusel on kõigi Hip Hop Festival, elektroonilisele muusi- töömõtted okupeerinud ilmselt juba am- kale pühendatud Sūpynės Leedus või VUM mu unistus murumättal rullimisest, suve- Soomes, mis seekord ruumipuudusel le- suplusest ning bändide live-esinemiste hest välja jäid, kuid millele peaks kindlas- ja lemmik-DJde
Load more

Recommended publications
  • Detroit's Maritime Techno Underground
    Detroit’s maritime techno underground. On the relationship between the 18th century pirates movement and concepts of social utopias, ideology, and cultural production in Detroit techno. A proseminar-paper for PS Cultural and Media Studies, course title: Pirates in (US-)American Culture, conducted by Mag.a Dr.in Alexandra Ganser, WS 2014/2015, by Christian Hessle, matriculation number: 9450392, e-mail: [email protected] due to 1 March 2015, 3676 words. 2 Table of Contents 1. Introduction...................................................................................................................3 2. Double consciousness....................................................................................................3 3. The black Atlantic..........................................................................................................4 4. The ancestors of Detroit techno: Funk, Fusion Jazz, and Afrofuturism........................5 5. The Belleville Three......................................................................................................6 6. The factory: from the ship to the city............................................................................6 7. Underground Resistance................................................................................................7 8. Drexciya.......................................................................................................................10 9. Conclusion...................................................................................................................12
    [Show full text]
  • Discographie
    Discographie I. Précurseurs musiques savantes Compilations An Anthology Of Noise & Electronic Music, Vol. 1-5 (Sub Rosa, 2000-2007) Le bruit dans la musique 1900-1950 Compilations Dada et la musique (Centre Georges Pompidou/A&T, 2005) Futurism & Dada Reviewed 1912-1959, (Sub rosa, 1995) Musica Futurista : The Art Of Noise (LTM, 2005) George Antheil, Ballet mécanique, dirigé par Daniel Spalding (Naxos, 2001) Belà Bartók, Le mandarin merveilleux, dirigé par Pierre Boulez (Deutsche Grammophon, 1997) John Cage, Sonatas And Interludes For Prepared Piano, interprété par Boris Berman (Naxos, 1999) John Cage, Imaginary Landscapes, dirigé par Jan Williams (Hat Hut, 1995) Henry Cowell, New Music : Piano Compositions By Henry Cowell, interprété par Sorrel Hays, Joseph Kubera, Sarah Cahill (New Albion Records, 1999) Charles Ives, Symphony n°2 etc., dirigé par Léonard Bernstein (Deutsche Grammophon, 1990) Erik Satie, Parade, dirigé par Manuel Rosenthal (Ades, 2007) Arnold Schoenberg, Pierrot lunaire, Lied der Waldtaube, Erwartung dirigé par Pierre Boulez (Sony, 1993) Edgard Varese, The Complete Works, dirigé par Riccardo Chailly (Decca, 1998) Musique et timbre, 1950 à nos jours Luciano Berio, Differences, Sequenzas III & VII, Due pezzi, Chamber Music (Lilith, 2007) György Ligeti, Requiem, Aventures, Nouvelles Aventures (Wergo, 1985) György Ligeti, Chamber Concerto, Ramifications, String Quartet n°2, Aventures, Lux aeterna, dirigé par Pierre Boulez (Deutsche Grammophon, 1983) Tristan Murail, Gondwana, Désintégrations, Time and Again (Disques Montaigne, 2003) Giacinto Scelsi, The Orchestral Works 2 (Mode, 2006) Krzysztof Penderecki, Anaklasis, Threnody, etc., dirigé par Wanda Wilkomirska (EMI, 1994) Karlheinz Stockhausen, Aus den sieben Tagen (Harmonia Mundi, 1988) Karlheinz Stockhausen, Stimmung (Hyperion, 1986) Iannis Xenakis, Orchestral Works, Vol.
    [Show full text]
  • Detroit: Techno City 27 July – 25 September 2016 ICA Fox Reading Room Preview 26 July
    ICA Press release: 26 May 2016 Detroit: Techno City 27 July – 25 September 2016 ICA Fox Reading Room Preview 26 July Techno! The New Dance Sound of Detroit (1988). Courtesy Neil Rushton and 10 Records LTD The next ICA Fox Reading Room exhibition will present a studied look at the evolution and subsequent dispersion of ‘Detroit Techno music’. This term, coined in the late 1980s, reflects the musical and social influences that informed early experiments merging sounds of synth-pop and disco with funk to create this distinct music genre. For the first time in the UK, a dedicated exhibition will chart a timeline of ‘Detroit Techno music’ from its 1970s origins, continuing through to the early 1990s. The genre’s origins begin in the disco parties of Ken Collier with influence from local radio stations and DJs, such as Electrifying Mojo and The Wizard (aka Jeff Mills). The ICA’s exhibition explores how a generation was inspired to create a new kind of electronic music that was evidenced in the formative UK compilation: Techno! The New Dance Sound of Detroit. Using inexpensive analogue technology, such as the Roland TR 808 and 909, DJs and producers including Juan Atkins, Blake Baxter, Eddie Fowlkes, Derrick May, and Kevin Saunderson, formed this seminal music genre. Although the music failed to gain mainstream audiences in the U.S, it became a phenomenon in Europe. This success established Detroit Techno, as a new strand of music which absorbed exterior European tastes and influences. This introduced a second wave of DJs and producers to the sound including Carl Craig, Richie Hawtin and Kenny Larkin.
    [Show full text]
  • Tone Glow, June 2020
    018: DeForrest Brown, Jr. toneglow.substack.com/p/018-deforrest-brown-jr An interview with DeForrest Brown, Jr. + an accompanying mix, album downloads, and our writers panel on Nídia's 'Não Fales Nela Que A Mentes' and Arca's 'KiCK i' Jun 17, 2020 DeForrest Brown, Jr. DeForrest Brown, Jr. is a New York-based theorist, journalist, curator, and artist. He’s created work under his own name and as Speaker Music, and is a representative of the Make Techno Black Again campaign. His writings have appeared in Tiny Mix Tapes, Afropunk, Artforum and Hyperallergic. His upcoming book, Assembling a Black Counter Culture, is out this year on Primary Information. Joshua Minsoo Kim talked with Brown, Jr. on May 28th about his new albums and book, COVID-19, George Floyd, techno, and empathy. Photos by Ting Ding. 1/21 Joshua Minsoo Kim: Hello, hello. DeForrest Brown, Jr.: Hey, how’s it going? Good, how are you? I’m all right… you know? Just all right? Yeah, it’s just one of those things… You know, the news. Hold on, I’m moving a big ass bean bag chair. (moves chair). I’ve been working on the book, but the book is kind of forming in my life right now, I guess. What do you mean by that? So my book, Assembling a Black Counter Culture, it starts at the gold rush and I’m trying to tell the history of America through techno and the Industrial Revolution, tying it all together. Between George Floyd and these protests and the economic collapse, it’s kind of a weird thing to see the end of the book.
    [Show full text]
  • Allegories of Afrofuturism in Jeff Mills and Janelle Monaé
    Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe Feature Article tobias c. van Veen McGill University Abstract The performances, music, and subjectivities of Detroit techno producer Jeff Mills—radio turntablist The Wizard, space-and-time traveller The Messenger, founding member of Detroit techno outfit Underground Resistance and head of Axis Records—and Janelle Monáe—android #57821, Cindi Mayweather, denizen and “cyber slavegirl” of Metropolis—are infused with the black Atlantic imaginary of Afrofuturism. We might understand Mills and Monáe as disseminating, in the words of Paul Gilroy, an Afrofuturist “cultural broadcast” that feeds “a new metaphysics of blackness” enacted “within the underground, alternative, public spaces constituted around an expressive culture . dominated by music” (Gilroy 1993: 83). Yet what precisely is meant by “blackness”—the black Atlantic of Gilroy’s Afrodiasporic cultural network—in a context that is Afrofuturist? At stake is the role of allegory and its infrastructure: does Afrofuturism, and its incarnates, “represent” blackness? Or does it tend toward an unhinging of allegory, in which the coordinates of blackness, but also those of linear temporality and terrestial subjectivity, are transformed through becoming? Keywords: Afrofuturism, Afrodiaspora, becoming, identity, representation, race, android, alien, Detroit techno, Janelle Monáe tobias c. van Veen is a writer, sound-artist, technology arts curator and turntablist. Since 1993 he has organised interventions, publications, gatherings, exhibitions and broadcasts around technoculture, working with MUTEK, STEIM, Eyebeam, the New Forms Festival, CiTR, Kunstradio and as Concept Engineer and founder of the UpgradeMTL at the Society for Arts and Technology (SAT). His writing has appeared in many publications.
    [Show full text]
  • Detroit Version US
    Extract From GLOBAL TEKNO 1.0 Jean-Yves Leloup, Jean-Philippe Renoult, Pierre Emanuel Rastoin (US-English translation by Black Sifichi) Detroit, summer 1998 by Jean-Philippe Renoult There are no charter planes to Detroit and certainly no direct flight from Paris. When we give our destination to the customs officer who carries out the usual formalities at the stop over in Philadelphia, he bursts out laughing: - What, why the hell are you going to Detroit? - Well... to take landscape pictures. - Good luck, you will need it! It’s a fact, Detroit Michigan is not listed in the tour operators schedule but it is certainly present on the world map of contemporary electronic music. In the uncomfortable plane, which finally takes us there, we go over and over the story which ravers and techno heads repeat like a founding myth. After Kraftwerk, who blended with one unique rhythm Stockhausen and Pop music, followed a black trinity who gave birth to the sound of techno. It developed here, on the polluted edges of Lake Huron. The three founders are Juan Atkins, Derrick May, Kevin Saunderson. All three, born respectively in 1962, 1963 and 1964, instilled a black, funky and sensual groove into one of the first purely technological dance music. An essential mutation, which Derrick May sums up in a quote, which has remained well-known: « Our music is the meeting in one and the same elevator of George Clinton and Kraftwerk. It is the mirror image of Detroit: a complete error. » Of all our destinations, Detroit was the most anachronistic but also the most fundamental.
    [Show full text]
  • Techno's Journey from Detroit to Berlin Advisor
    The Day We Lost the Beat: Techno’s Journey From Detroit to Berlin Advisor: Professor Bryan McCann Honors Program Chair: Professor Amy Leonard James Constant Honors Thesis submitted to the Department of History Georgetown University 9 May 2016 2 Table of Contents Acknowledgements 3 Introduction 5 Glossary of terms and individuals 6 The techno sound 8 Listening suggestions for each chapter 11 Chapter One: Proto-Techno in Detroit: They Heard Europe on the Radio 12 The Electrifying Mojo 13 Cultural and economic environment of middle-class young black Detroit 15 Influences on early techno and differences between house and techno 22 The Belleville Three and proto-techno 26 Kraftwerk’s influence 28 Chapter Two: Frankfurt, Berlin, and Rave in the late 1980s 35 Frankfurt 37 Acid House and Rave in Chicago and Europe 43 Berlin, Ufo and the Love Parade 47 Chapter Three: Tresor, Underground Resistance, and the Berlin sound 55 Techno’s departure from the UK 57 A trip to Chicago 58 Underground Resistance 62 The New Geography of Berlin 67 Tresor Club 70 Hard Wax and Basic Channel 73 Chapter Four: Conclusion and techno today 77 Hip-hop and techno 79 Techno today 82 Bibliography 84 3 Acknowledgements Thank you, Mom, Dad, and Mary, for putting up with my incessant music (and me ruining last Christmas with this thesis), and to Professors Leonard and McCann, along with all of those in my thesis cohort. I would have never started this thesis if not for the transformative experiences I had at clubs and afterhours in New York and Washington, so to those at Good Room, Flash, U Street Music Hall, and Midnight Project, keep doing what you’re doing.
    [Show full text]
  • Detroit Techno and Dystopian Digital Culture
    Hooked on an Affect: Detroit Techno and Dystopian Digital Culture Feature Article Richard Pope Ryerson University Abstract Detroit techno is typically historicized as having grown out of the late 1970s and early 1980s middle-class, consumerist, and aspirational high school social party scene, giving the impression that Detroit techno artists created forward-thinking music as a means to acquire subcultural capital and (re)produce their identities. In this essay, this position is nuanced for a more complex understanding of techno’s relation to the quotidian phenomenological encounter with the dystopian setting of Detroit. Concomitantly, predominant theorizations of affect within the humanities, which emphasize the utopian, hopeful dimensions of affect’s inherent productivity, are supplemented for an understanding of productive energy revolving around affects of dystopia and on a certain hopelessness which scholars, in the years ahead, will increasingly have to negotiate. Keywords: techno, Detroit, dystopia, affect, aesthetic, desire, subculture Richard Pope is a Postdoctoral Fellow at Ryerson University. His recent work examines the dystopian horizon of contemporary capitalism and popular culture. He has published previously in Camera Obscura, Space and Culture, Film-Philosophy, and Cinema Journal (forthcoming). Dancecult: Journal of Electronic Dance Music Culture 2 (1): 24–44 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI 10.12801/1947-5403.2011.02.01.02 Pope | Hooked on an Affect 25 Without sounding too new-agey or metaphysical, I think that Detroit, the actual “location of Detroit, is the instigator behind everything. —Jason Huvaere (in Sicko 2010: 92) It’s the emptiness in the city that puts the wholeness in the music.
    [Show full text]
  • Download a .Pdf of the Complete Article Here
    Book Review Section FORUM FOR INTER-AMERICAN RESEARCH (FIAR) VOL. 12.1 (JUN. 2019) 127-128 ISSN: 1867-1519 © forum for inter-american research Weird American Music, by Dorothea Gail. Heidelberg: Universitätsverlag Winter, 2018. (Book Review) KENSEDEOBONG BLESSED OKOSUN (BIELEFELD UNIVERSITY) Dorothea Gail’s Weird American Music is a a time span of three decades (1980-2010), she comprehensive and insightful resource tool on investigates the evolution in dimensions of artistic popular music, with strong emphasis on the expression, and their significance within the conflicts between authenticity preservation American cultural landscape. Each case study and capitalistic strangulation engendered by is approached from different roads of enquiry, market forces within certain music subcultures for instance, while commercialization dominates in the United States of America. These the discussions on UR and Jackalope; identity diverse subcultures and musical genres are politics prevails within the argumentation on “representative of the late twentieth- century BarlowGirl and Charles Ives. United States” (12). The writer channels her Situated in Detroit which is prominent for its experience as a long-standing scholar and lively music scene, notably Motown, techno, musician through the monograph tailored for the and Jazz, the Underground Resistance, for one, fields of Musicology and American Studies. maintains authenticity through its ideological The “weird” in Weird American Music stance which involves a tenacious adoption emanates from the “in-betweeness” created by of alternative measures such as defiance tension between authenticity and the market; against ethnic categorization, exploitation of the and between the intrinsic experience of identity mainstream music industry, collective expectation and the cognizant mercantilism of identity (3).
    [Show full text]
  • “Where the Mix Is Perfect”: Voices
    “WHERE THE MIX IS PERFECT”: VOICES FROM THE POST-MOTOWN SOUNDSCAPE by Carleton S. Gholz B.A., Macalester College, 1999 M.A., University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Carleton S. Gholz It was defended on April 11, 2011 and approved by Professor Brent Malin, Department of Communication Professor Andrew Weintraub, Department of Music Professor William Fusfield, Department of Communication Professor Shanara Reid-Brinkley, Department of Communication Dissertation Advisor: Professor Ronald J. Zboray, Department of Communication ii Copyright © by Carleton S. Gholz 2011 iii “WHERE THE MIX IS PERFECT”: VOICES FROM THE POST-MOTOWN SOUNDSCAPE Carleton S. Gholz, PhD University of Pittsburgh, 2011 In recent years, the city of Detroit’s economic struggles, including its cultural expressions, have become focal points for discussing the health of the American dream. However, this discussion has rarely strayed from the use of hackneyed factory metaphors, worn-out success-and-failure stories, and an ever-narrowing cast of characters. The result is that the common sense understanding of Detroit’s musical and cultural legacy tends to end in 1972 with the departure of Motown Records from the city to Los Angeles, if not even earlier in the aftermath of the riot / uprising of 1967. In “‘Where The Mix Is Perfect’: Voices From The Post-Motown Soundscape,” I provide an oral history of Detroit’s post-Motown aural history and in the process make available a new urban imaginary for judging the city’s wellbeing.
    [Show full text]
  • REVIEW ESSAY Weirdness at Midnight
    REVIEW ESSAY Grzegorz Welizarowicz Weirdness at Midnight Dorothea Gail. Weird American Music: Case Studies of Underground Resistance, BarlowGirl, Jackalope, Charles Ives, and Waffle House Music. Universitätsverlag Winter, 2018, 413 pages. In November 1998 Janice Radway delivered the presidential address at the conference of the American Studies Association. Her essay “What’s in a Name?” points to “deep fissures and fractures in our national body” (10) and asks about the “objects” and “distinctive method” of American studies that could address the crisis. Radway evokes two traditions of the discipline: one grounded in the idea of American exceptionalism and the “common ground” consensus narrative, and the other, “alternative” tradition which insists that “e pluribus unum” has always been based on exclusion of the nation’s Other. It is this “alternative” American studies’ interest in “‘dissensus,’ in Sacvan Bercovitch’s suggestive phrase” (Radway 5) and in an international context that Radway takes as models for thinking about the emerging new configurations of geography, identity, culture. Radway suggests that the return to the “alternative” legacy is key to effect an urgent “reconceptualization” (8) of “our” field.1 What exactly would such a paradigm shift entail? Radway calls for a reformulation of the idea of American culture and identity. In contrast to stable, bounded conceptualizations she proposes a dynamic definition of culture as a “meaning effect” (14), “a site of perpetual social struggle” (16) and a result of negotiations between power and contestation. The question of identity must be understood, Radway adds, as “produced at the intersection of multiple, conflicted discourses, practices, and institutions” (9), a “changing relationship to multiple, shifting, imagined communities… situated in specific places at particular moments and amidst particular geographies” (15).
    [Show full text]
  • Table of Contents
    Table of Contents Wilfried Raussert Introduction: Ethnie Identity Politics, Transnationalization, and Transculturation in American Urban Popular Music: Inter-American Perspectives 1 John Carlos Rowe The Death of Francis Scott Key and Other Dirges: Music and the New American Studies 27 Michelle Habell-Pallän Exhibiting Alice Bag's Vexing Voice: Chicana Feminist Rock Criticism, Mexican Culture and Early Hollywood Punk "Revisionism" 41 Martha Gonzalez Sonic (Trans)Migration of Son Jarocho "Zapateado": Rhythmic Intention, Metamorphosis, and Manifestation in Fandango and Performance 59 Marisol Berrios-Miranda and Shannon Dudley El Gran Combo, Cortijo, and the Musical Geography of Cangrejos/Santurce, Puerto Rico 73 Martin Butler Towards a Topography of Hybridization in U.S. Urban Popular Music 99 Daphne A. Brooks Planet Earth(a): Sonic Cosmopolitanism and Black Feminist Theory Ill Frank Erik Pointner A Prophet, Save in His Own Country: Willy DeVille's Latino Fashioning and Its Intercultural Reception 127 José Luis Campos Garcia Migraciones y trayectos identitarios en la müsica popular. La cultura del consumo musical en la era digital 139 Astrid Haas Latin Skillz: The Fusion of Rap, Film, and Sport and the Mainstreaming of U.S. Latina/o Culture 151 Bibliografische Informationen digitalisiert durch http://d-nb.info/1013757645 Maria Elena Cepeda When Latina Hips Make/Mark History: Music Video in the "New" American Studies 167 Christoph Schaub Beyond the Hood? Detroit Techno, Underground Resistance, and African American Metropolitan Identity Politics 185 Julia Andres A Crippled Nomad Bailaora and a "Vagrant" Art: A Study in Flamenco and Ana Castillo's Peel My Love Like an Onion 203 Yolanda Minerva Campos Garcia Un "pachuco" en la barriada.
    [Show full text]