Epiphanies L(Lll-T!{6 F,',!"L : ARTSTSI Ffiiii,Ffi

Total Page:16

File Type:pdf, Size:1020Kb

Epiphanies L(Lll-T!{6 F,',! Epiphanies l(lLL-T!{6 F,',!"l : ARTSTSI ffiiii,ffi E HATEUHIT Yamatsuka Eye's artwork for the Eat Srrit ,Vorbe ,ttusrc cassette (cilca 1988) It was exactlythe sort of thingthat 15 year olds aren't musicianship,fidelity, funkiness, lyrical content, closerto the middle.They weren't well known,but at grew supposedto hear: Eat Shit NoiseMusic. Late night rhythmicprowess, historical relevance, etc had no least those cats had decentdistribution! | collegeradio had introducedme to Japan'svirtuoso businesshere. This was stuff so uglyonly a motheror curious.What other soundslived in the undergrowth, bassand drumsduo, Ruins, and my questfor material close relativecould love it, and thus I quicklyfound off the map,in placesyou needan obscurecatalogue by the groupwas sendingme down increasingly myselfin the family. to locate? unusualpaths. Eat Shlt was my best lead- a bootleg Forthis was the first musicthat I could reallycall my With its no-fiXerox artwork and poorlytyped tracklist, cassetteof Japanesegroups compiled by RRRecords, own. Reachingliterally across the globe,the most Eat Shlt was a refreshingreminder that you didn't and availablevia theirmail order catalogue. Ruins unmarketablesounds had locatedthe rightears and need moneyto make musicor get it heard."All song wereon the tracklistand the pricewas cheap. transmutedinto personaltreasure. Nobody was telling [sic] swipedfrom existingphonograph records, used The cassettearrived suspiciously fast, just two days me howto listen or what to listenfor. I had discovered withoutpermission," the liner notes boasted.Of after I'd postedmy cheque.I tore openthe package, it unaidedby recommendation,radio play or a course,nobody minded this bootlegger.RRRecords armedmy tape deck, and crankedthe volume.What I journalist'sreview. Eat Shit slippedinto my systemlike was makingextremely hard to find materialslightly heardbecame my personalground zero. Dynamic, a carjacker,and the shockwas total. My responsewas less hardto find. This is the purestform of lasciviousviolence poured from the speakers,courtesi to make it mine- to approachthe musicon its own bootlegging- nothingto do with piratedmajor label of YamatsukaEye's pre-Boredoms outfit, Hanatarash. terms whilefashioning my own yardstickfor its releasesor the tacky sheenof bastardpop mixes.On Simultaneouslyatrocious and amazing,the sounds enjoyment.Under noise's surface outrage lay a gambit the contrary,RRR's unauthorised compilation had defiedme not to like them, yet somehowI did, turned for freedom. much more in commonwith bootlegmoonshiners, on by flashesof anarchicjoy amid the audiofallout. I The RRRcassette was polarising,but it was also randomdrunks and libertarianswho brew high-proof think I may haveblushed. lt wasn't that Hanatarash personaland fragile;and I had the sense that if I firewaterin jerry+iggedbasement stills. werethrowing music rulebooksin the trash - that didn't listen closely,it might pass unnoticed.I knew I wouldlater realisethat I'd stumbledacross the wouldhave been relativelysimple, or at least nothingabout these groups,but it was obviousthat an exoerimentalcassette circuit that flourishedin the recognisable.No, their openingtrack soundedlike individualwith photocopieraccess and a dual cassette 1980s and early90s. Priorto the Internet,grassroots rabidforces tearing down a house,or attemptingto deck could make a substantialdifference in their noiseculture was internationalby necessity- there buildone with crackedpower tools and constantly world.This scene had a tangiblescale. lt stoodwithin simplyweren't enough fans in anyone place.And so it splinteringlumber. Somebody had a heavythumb on grasp,which suggested that I could activelyparticipate was heldtogether by slow postalservices and the pausebutton, for the songwould periodically in music- any music,especially the weird stuff - scrawledaddresses, mail ordercatalogues and tiny shudder,accelerate or drop out entirely.Not eventhe ratherthan remaina well-informedconsumer. Precisely labelsand kidsswapping tapes. A goodzine was gold. mic was exemDtfrom abuse.Intermittent howls from the sort of thing a resourcefulkid in New England's Just recentlyI had the privilegeof performingin Eyeaccompanied the bedlam.My teen mindmelted. whitewashedcultural landscape needs to hear. Osaka,hometown to Hanatarashand generally I listenedto Eat Shitover and over,extracting more And Ruins?lmpressively, their rock histrionicsheld regardedas Japan'scentre for both noise and comedy. meaningfulsignals from that noisethan an optimistic up againstHanatarash's ingeniously bent ineptitude. An Australianexpatriate outlined Osaka's noise scene chaostheorist would have thought possible. Other Eat Shitalso featuredrelentlessly derailing anarcho- for me. "lt doesn'treally exist anymore," he lamented. materialon the comp was informedby a rampaging punkfrom YamatsukaEye's other group, Boredoms; "There'sjust this thingcalled 'scum noise', where beat or sludge-filledguitars, always underneath Grim'sIndustrial primitivism; and the singularly amphetaminetypes screamand leap aroundlike mad. screams,abject electronics and/or feral distortion,but inappropriateGerogerigegege, among others. Sometimesthere'll be jam sessions,where guys Hanatarash'sthree contributionswere constructed Gerogerigegege'stunes involveda man pleasuring recordthe worst soundsthey can find and playthem from excitinglyliteral, non-musical sounds lacking himselfbetween bursts of blistering,guitar-laced over a massivesound system."lf that's what happens identiflablereferent. Somebody's hitting... something. noise:onanism as publicsport. duringa downswing,then Osaka'sstill got a special As somethingelse collapses. Titles like "FrogGirl Thecasual listener might call this musicrepellent. wretchedringing in its ears. His Japanesewife strolled 9OO00"and "My Dad ls Car" offeredlittle insight But I thoughtof its force as centrifugal,pulling us over."l enjoyedyour set," she said with an open beyond'English as a secondlanguage' allusions to towardsuncharted perimeters and awayfrom any smile,"especially the noise." mechanisedand mutatedhumans. stabilisingcentre. Contrast this with the manygenres Noiseappreciated as poetrybecomes music. Foreign Crypticand deranged,yes. But also strikingly comfortinglystifled by subculturalmores dictating languageslearnt grow familiar. Allegedly exotic sounds earnest.The anarchic,excrement-fixated music acceotablemusical conduct. understoodon their own terms - whetherit's Nass El spawneda strangelydemotic threshold for its Hittingthese extremitiesat such a youngage meant Ghiwane'sepoch-making Moroccan chaabi or enjoyment:you eitherlike this shit or you don't - there that everythingelse in my recordcollection - Mission Hanatarash'scalamity waltz - can reemergeas soul, isn't much roomfor debate.lssues of quality, Of Burma,Detroit Techno, Pere Ubu - got nudgeda bit and set up campinside yours. n 106THE WIRE .
Recommended publications
  • Adam Kurland and Lucas Jansen
    Personal Statement dam Kurland is the director of Knowing that the history of America is embroiled in Fantasy Sports (née Rotisserie) A the upcoming documentary muck, it wasn’t so much a choice to make this film as it was our American duty to “This is Not a Robbery,” the honor this world-changing almost-sport. Whether Fantasy got its start in the front Silly Little Game story of the world’s Oldest Bank Robber, a credit he shares alongside partner office of the 1963 Raiders, the mind of a Harvard sociologist, ancient Polynesian Lucas Jansen. Mr. Kurland’s music-video customs, or (and this one is probably the truest) with eleven self-described “stat- work has been featured on the MTV and crazed schmucks” in a mediocre French restaurant on New York’s upper East Side; Fuse networks. A native of Los Angeles few to none of the millions of fantasy players who make up today’s multi-billion-dollar and graduate of the USC Cinema- fantasy industry know anything about its origins, nor do they pay any respect or divi- Television program, Mr. Kurland currently lives and works in Brooklyn, NY. dends to its founders. Now they will. For us, fantasy is about people who take epically exciting, endlessly complicated, Directed by Adam Kurland and Lucas Jansen Directed ucas Jansen and directing furiously competitive alternative universes just as seriously (if not more seriously) as partner (and friend since they take their own everyday lives. It’s a passion that makes sense after childhoods L Mr. Kramer’s 7th-grade history class) Adam Kurland founded Red Marker spent, in our cases, pretending to be Magic, passing to ourselves as Kareem, dunk- Films in 2005, with the goal of producing ing on Nerf hoops, cheering like 30,000 fans and calling our own play by play.
    [Show full text]
  • Extreme Rock from Japan
    Extreme Rock From Japan Joe Paradiso MIT Media Lab Japan • Populaon = 127 million people (10’th largest) – Greater Tokyo = 30 million people (largest metro in world) – 3’rd largest GDP, 4’th largest exporter/importer • Educated, complex, and hyper mo<vated populace – OCD Paradise… • Many musicians, and the level of musicianship is high! • Japan readily absorbs western influences, but reinterprets them in its own special way… – Creavity bubbles up in crazy ways from restric<ve uniformity – Get Western idioms “wonderfully” wrong! – And does it with gusto! Nipponese Prog • Prog Rock is huge in Japan (comparavely speaking….) – And so is psych, electronica, thrash bands, Japanoise (industrial), metal, etc. • I will concentrate on Early Synth music - Symphonic Prog – Fusion/jazz - RIO (quirky) prog – Psychedelic/Space Rock – by Nature Incomplete • Ian will cover Hip Hop, Miku, etc. Early (70s) Electronics – Isao Tomta 70’s Rock Electronics - YMO • Featuring Ryuichi Sakamoto 70s Berlin-School/Floydish Rock Far East Family band • Parallel World produced by Klaus Schulze – Entering – 6:00, Saying to the Land (4:00) 70’s Progish Jazz – Stomu Yamash'ta • Supergroup “Go” • Freedom is Frightening, 5:00, Go side B Other Early 70’s Psych (Flower Travelin’ band) • Satori, pt. II, middle Early Symphonic Prog - Shingetsu 1979 • Led by Makoto Kitayama (Japanese Peter Gabriel) • Oni Early Symphonic Prog – Outer Limits (1985) 1987 2007 • The Scene Of Pale blue (Part One) – middle • Plas<c Syndrome, Consensus More Early Symphonic Prog – Mr. Sirius 1987 1990
    [Show full text]
  • In Search of Japanoise Globalizing Underground Music
    16 In Search of Japanoise Globalizing Underground Music David Novak In 1990, I had just returned from a year of teaching English in Japan, so I was surprised when I came back to college in Ohio and started to hear about “Jap- anese Noise Music.” Some cut out the “music” idea altogether and called it all “Japanese Noise,” and others just compressed it to “Japanoise.” The name was supposed to identify a specic Japanese type of “Noise,” which was already a pretty vague genre name. Some friends added that its top artists mostly came from the Kansai region and the cities Osaka and Kyoto where I’d been living. I’d run into some noisy punk rock and experimental music in little under- ground record stores and small clubs around Japan … but Japanoise? I had never heard of it until I was back in the United States, when the Boredoms’ LP Soul Discharge found its way to the college radio station where I was a DJ, and tapped into the emerging independent music scene. At the time, the ow of underground cassettes, CDs, and vinyl into the station was increasing on a daily level. But dropping the needle on Soul Discharge released the most spectacularly dissonant racket I’d ever heard, tog- gling through a spectrum of styles and sounds. Sometimes Boredoms sounded like a hardcore band, sometimes a random Dada cutup of popular culture: it was desperately heavy but also funny as hell. You couldn’t possibly take it seriously, but, at the same time, it demanded your full attention.
    [Show full text]
  • Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8
    Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8 Music Boo-Hooray is proud to present our eighth antiquarian catalog, dedicated to music artifacts and ephemera. Included in the catalog is unique artwork by Tomata Du Plenty of The Screamers, several incredible items documenting music fan culture including handmade sleeves for jazz 45s, and rare paste-ups from reggae’s entrance into North America. Readers will also find the handmade press kit for the early Björk band, KUKL, several incredible hip-hop posters, and much more. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Ben Papaleo, Evan, and Daylon. Layout by Evan. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Table of Contents 31. [Patti Smith] Hey Joe (Version) b/w Piss Factory ..................
    [Show full text]
  • October 1996 There Is No Greater Gift Than to ~
    - THE OTHER SIDE VOLUME XXVII OCTOBER.1996 Editor-in-Chief POLITICS S EASON: 0 Shanti Webley Tire political minds of Pit=er rise to f7Tllrftlmv'fliQ Executive Editor: hy justin Anderson, Ed Martini III Albert Aaron Rhodes - ·- ·- ·- ·- ·- ·- ·- ·- ·- --A - -- ·- ·- -·-·- ·- ·- ·- ·-·-·- ·- ·- ·- · WITHOUT A Box'S MISSION Assistant Editors: Putting the "Imp" back in Imprav: Tile group sets out again to reclaim Bill Pluecker their namesake. by jonathan Stokes mfd Aaron Rhodes Angelica Diehn AbbieTew l'liisiArio; · e:i·EViAND . !s-oNFii£ · - · - · - · - · - · - · - · - · - · - · - · - · - · - - - · - - ~ Music Editor: Todd Berry ::si~:= ~~~~-~~~~n~J:.::d~ ~.:~ ~~·-~~~l~nd Mall Rmnirez ~ ' Photographers: Aaron Rhodes GUATEMALA, UP CLOSE AND PERso AL Trillium Sellers Her visions tuzd ~ to. Centml by La Ia Welbom Artists: Liz Biala Tracv Johnson Do-ugWein Thomas Weitz Registered Voters: Justin Anderson Ben Ball Adam Block There are 't ry few reY1ardS J Jose Calderon But there is one reward tl\~t money cannot buy 53.'11 J. Farrar And that no gift in the •orld can ~urpass - Suzanne Foster The gift of your eyes, Tou;r heart, and }'miT mind. Ed Martini ill Zach Pall The moment when your eyes open wide and I can see Matthew Ramirez That you can see Michael A. Rippins The plight of the farmworkers in the fields. r-..fichell Silas The tired arms of the janitor scrubbing the floors in the college halls, Fiona Spring The power relations that create a chasm between Jonathan Stokes Domestication and Liberation -- Rebecca Uchill There is no greater gift
    [Show full text]
  • Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
    Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption.
    [Show full text]
  • Adorno, Japanese Noise, and the Extirpation of Dissonance*
    Why Hardcore Goes Soft: Adorno, Japanese Noise, and the Extirpation of Dissonance* Nicholas J. Smith The Rise and Fall of Dissonance On April 7, 1805, guests at the Lobkowitz Palace retired to the performance hall after an evening of Viennese wining and dining. Herr Beethoven, already widely hailed as a masterful yet restless classicist, is to provide the musical accompaniment to their digestion. He promises a heroic symphony, in its pangs of birth a tribute to Napoleon, but now a direct affront to the newly self-proclaimed Emperor. The full orchestra begins by declaring two definitive chords in E-flat major, establishing a key and firmly placing each foot squarely within the tradition. The strings walk with the expectations of the audience's well-trained ears for four more steps, stating a theme and maintaining the key with an E-flat major arpeggio. Then, with the seventh bar, the door to the tradition closes behind a dissonant C-sharp, and the audience is dropped out of the Palace and onto the European battlefield. The netherworld of classical ideals, the safe haven frequented by the aristocracy to escape the dangerous clamor of the world they ruled, had been invaded by dissonance. A single, nasty, out-of-place noise turns their stomachs. If the patron could keep her meal down over the furious harmonic and rhythmic windings of the seventeen minute first movement, a duration longer than entire symphonies of the period, she would ultimately find relief when the initial theme is completed in an answering phrase. The final outcome, however, could not neutralize the symphony's dyspeptic Copyright © 2001 by Nicholas J.
    [Show full text]
  • Omestead ,F,Lms
    ELL TOUPEE BIG TTffi ,APPY FLO eKs ffiif ':'d,,i DOZI OMESTEAD =URGE ,REV,t ,F,LMS '{ I t:::.:l:1.:::' i -::.: : : :l r::.::::::: :::l: : ( *li.,.:j#"ffi ':.:.fl:1i;: KILLDOZER c\aMMiT- All answers are those of Mr. Michael Gerald, Killdozer's celebritv :i singer. Celebrtty ProIlIe: Take your ttne and answer all the questions. No partial credit will be given for incomplete thoughts, even buddtng genius. THE AMI-CIIRIST: No doubt about it, the Snuggles Bear is the Anti-Christ. When it comes on TV, which I watch constanUy, my testicles receed (proof positive). WHITE TRASII: Refers to that breed of people that eat Spam as adults, drive rusty "I Camaros, shop at Wal-Mart, and proudly say of thef trailerhome own it." White Trash congregate at county fairs and auto shows and in the woods during deer season. "Shit Some white trash culture has permeated the greater culture, e.g. happens," home shopping networks, and Cajun food. (Cajuns are swamp-dwelling white trash, although trailerhomes cannot be parked in swamps). New York artists are by far the worst. FAVORITE BODILY FLI'IDS: The tears of a chi]d whose puppy has been backed over by rnother in the family car. "People's PORNOGRAPIIY: I think Choice" porn would be a good idea. There should be more celebrity porn. I'd like to see Marsha Brady sandwiched by Dom Deluise and Buddy Ebsen. I'd also like to see Tootie from Facts o;flgte show off her fist-sized nipples. The best IVe seen yet v/as Art Linkletter giving a nm job to a sow in heat in the classic peep show Ballbus ters.
    [Show full text]
  • Rarely​Unable​ Press Release
    RARELY​UNABLE​ PRESS RELEASE YUNOHANA VARIATIONS: ROBERT AIKI AUBREY LOWE, SUSIE IBARRA & YOSHIMIO - UK TOUR JUNE, JULY 2018 THIS TOUR MARKS THE SECOND IN A SERIES COMMISSIONED BY OUTLANDS: THE NEW NATIONAL EXPERIMENTAL MUSIC TOURING NETWORK ANOTHER OUTLANDS TOUR TO FOLLOW THIS YEAR IN NOVEMBER: RASTER NOTON VS DRIFT OUTLANDS,​ the new national experimental touring network, are pleased to launch the second in a series of special live shows. Three improvisational luminaries; multi-instrumentalist ​YoshimiO (Boredoms, OOIOO, SAICOBAB)​, avant-garde percussionist ​Susie Ibarra​, and artist ​Robert Aiki Aubrey Lowe (Lichens)​ shall be performing together as ​Yunohana Variations ​for the first time in the UK.​ ​Selected and produced by Supersonic Festival Birmingham​, and launching at the festival in June 2018 - full dates and details below. YoshimiO ​is a drummer and member of the revolutionary group ​Boredoms​. She is the leader of the experimental band ​OOIOO​, a member of ​Free Kitten​ with Kim Gordon (ex. Sonic Youth), and most recently the vocalist in ​SAICOBAB​. Susie Ibarra​, is one of the most significant percussionists and composers of our time, known for her work as a performer within contemporary, avant-garde, jazz, classical, and world music, and performs in the band Dreamtime Ensemble​. Ibarra studied with jazz luminaries ​Earl Buster Smith ​(of ​Sun Ra Arkestra​), ​Vernel Fournier​ and ​Milford Graves,​ and Philippine Kulintang gong-chime music with ​Danongan Kalanduyan​. She has performed with the likes of: ​John Zorn, Dave Douglas, Yo La Tengo, Ikue Mori​ and recent works include a sound installation for ​Ai Weiwei​. Robert Aiki Aubrey Lowe ​is a multidisciplinary artist whose practice is strongly rooted in exploration of moments and the hypnagogic state.
    [Show full text]
  • The J. Paul Getty Museum Presents Ooioo, Part of the Gordon Getty Concerts Series
    NEWS FROM THE GETTY news.getty.edu | [email protected] DATE: November 16, 2015 MEDIA CONTACT FOR IMMEDIATE RELEASE Valerie Tate Getty Communications (310) 440-6861 [email protected] THE J. PAUL GETTY MUSEUM PRESENTS OOIOO, PART OF THE GORDON GETTY CONCERTS SERIES A Celebration of Artistically Adventurous Women at the Getty Center LOS ANGELES –On Saturday, December 5, the J. Paul Getty Museum brings the powerful and joyous energy of Japan’s OOIOO to the Getty Center for a rare U.S. performance. The concert is presented in conjunction with the exhibition The Younger Generation: Contemporary Japanese Photography, which celebrates recent work by women photographers who rose to prominence in Japan in the 1990s and who have defied preconceptions. Like these female photographers, OOIOO rattles the boundaries around tradition, artistic expression, and pop culture. OOIOO (pronounced “oh-oh-eye-oh-oh”) is an extraordinary all-female music project based in Japan, led by the compellingly radical Yoshimi, a founding member of pioneering noise rock band Boredoms. Since 1997, OOIOO has produced seven full-length albums that have consistently subverted expectations and warped perceptions of what constitutes pop and experimental music. OOIOO is a definitive example of artistically adventurous women working in music today. OOIOO has created a musical language combining instruments traditional to rock, as well as to indigenous music, with a particular emphasis on primordial rhythm and chanting, and pushing those sounds into an entirely new and exhilarating dimension. -more- Page 2 OOIOO’s unique sense of tribalism feels both ancient and radically modern–universal, yet uniquely their own.
    [Show full text]
  • What's That Noise?: Musical Boundaries and the Construction of Listening and Meaning
    WHAT'S THAT NOISE?: MUSICAL BOUNDARIES AND THE CONSTRUCTION OF LISTENING AND MEANING Ian Davyd Gallimore Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music Submitted January 2009 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. ii ACKNOWLEDGEMENTS Foremost, I would like to give thanks to my supervisor, Luke Windsor, for his enthusiasm and knowledge, for our sometimes mammoth but always enjoyable meetings, and for trusting that I knew what I was talking about when I wasn't really convinced of it myself. I am also grateful to Mic Spencer, for his remarks on an early draft of Chapter 2, and Kevin Dawe, for his helpful commentary during the formative stages of the thesis. I am indebted to my Master's supervisor, Fred Orton, for making me think harder and longer, not just about artworks but about everything, and without whose insight and vigour I might never have been able to start this thesis, never mind finish it. I would like to acknowledge the University of Reading Department of Psychology, for providing me with a workspace away from the distractions of home, sunny weather, and Wikipedia. I am especially thankful to the staff and post-grads who, during our daily lunchtime gatherings, provided much-needed relief from the stresses of writing up.
    [Show full text]
  • Modalities of Desire
    Modalities of Desire Representations of Sadomasochism in Popular Music Jon Mikkel Broch Ålvik Master Thesis Department of Musicology University of Oslo Spring semester 2008 2 Acknowledgements This master thesis was made possible in no small part through the support and cooperation of a number of people. I would like to express my gratitude to the following: My supervisor, Professor Stan Hawkins at the Department of Musicology, University of Oslo, for three years of thorough tutelage in Oslo and Antibes, helping me navigate the complex field(s) from which this thesis arises, and never losing faith in my ideas. Associate Professor Erik Steinskog at the Grieg Academy, University of Bergen, for his inspirational courses at the University of Oslo in 2003 and 2004, turning me on to a wealth of relevant books, and opening my eyes to all the things academia can entail. Professor Tor Dybo at the Faculty of Fine Arts, University of Agder, for useful comments and suggestions during our seminar in Kristiansand in September 2006. The staff at the Department of Musicology, notably PhD fellows Mats Johansson and Kyrre Tromm Lindvig for cheering me on; and a very special thank you to research assistant Eirik Askerøi for sound advice and the most useful exchange of opinions – and for remaining a close friend in the process. My colleagues past and present at Morgenbladet, especially Svein Egil Hatlevik for helpful tips, and Lasse Midttun for suggesting Blue Öyster Cult. The students at the Department of Musicology, particularly my fellow travellers Marita Buanes (for Antibes) and Siv Tonje Håkensen and Silje Indrebø (for Kristiansand).
    [Show full text]