DOCSLIB.ORG

Des Disques La Suite

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Des Disques La Suite AGENDA (Larousse) à découper et mettre sur son frigo SOMMAIRE DOS AU FRIGO AGENDA DE Agenda de Frigo................. 2 Edito.................................... 3 Les infos très pratiques du Temps Machine................ 4 Le programme.................... 5 Le rubrique de Pauline....... 32 Le DSC................................ 35 Hors du Temps Machine.... 36 L’instant scientifique................38 Le dossier Retromania tourangelle...........41 La fiche utile du Docteur Fred.....................47 Le jour où Cahier ou groupe de cahiers d’un ouvrage publié par fragments. fragments. par publié ouvrage d’un cahiers de groupe ou Cahier tout a basculé..................... 50 Rewind................................. 51 Chez les copains................; 63 FASCICULE Aller au Temps Machine..... 64 LE TEMPS MACHINE CooRdonnées EDITO Le Temps Machine Parvis Miles Davis BP 134 37301 JOUÉ LÈS TOURS CEDEX Tel : 02 47 48 90 60 Courriel : [email protected] www.letempsmachine.com www.facebook.com/letempsmachine Horaires Les Bureaux du lundi au vendredi : 10h00 / 12h30 & 14h00 / 18h00 PourCOURT la seconde fois cette saison, je vaisCIRCUIT En dépit de la tentative d’éviction, la DE FRIGO Le Centre Mardi – jeudi – vendredi : 14h00 / 18h00 vous parler d’une info trouvée dans les troisième enseigne a su trouver sa place AGENDA Mercredi : 10h00 / 13h00 & 14h00 / 18h00 pages éco des journaux et qui, pourtant, dans l’oligopole désormais partagé à trois. Samedi : 14h00 / 17h00 intéresse tous ceux qui fréquentent et les soirs de concerts de 20h30 à 22h00 On peut comparer cette situation à celle concerts, festivals et spectacles. Les soirs de concert des chaînes d’hypermarchés qui imposent Ouverture du bar : 20h30 Ouverture de la billetterie : 20h30 Le 20 décembre dernier, l’Autorité de leurs règles aux producteurs, asphyxiant Fermeture du Temps Machine : 01h45 la Concurrence a condamné les deux plus au passage les artisans-commerçants de AccèS bus Fil Bleu importants distributeurs de billets de proximité. La massification de l’offre En journée spectacles français à 9,3 millions d’euros de spectacles et de divertissements a lignes 1 / 11 / 30 -> arrêt Joué Centre d’amende pour entente sur le prix des transformé sa distribution : on achète ligne 9B -> arrêt Martyrs commissions et pour stratégie d’éviction désormais ses billets… à la sortie des En soirée ligne N1 – arrêt Martyrs (dernier départ d’un nouveau concurrent. hypermarchés, comme n’importe quel pour Tours à 1h21 – terminus : Gare Vinci) bien de consommation courante, frais de Reprenons l’affaire depuis le début afin de Co-VoITURAGE réservation en sus. bien comprendre de quoi il s’agit. Groupe Facebook : http://minu.me/4zon Cette situation est perçue par la plupart stationnement Les dernières décennies ont vu le des organisateurs comme une fatalité. Parking voiture, moto et vélo nombre de spectacles exploser en France. sur le Parvis Miles Davis Parallèlement à cela, quelques entreprises Comme s’il n’était plus possible de faire Autre parking à proximité : Place de la Liberté se sont imposées comme les distributeurs sans le "service" de ces prestataires. En sortant du Temps Machine, pensez aux (vendeurs) quasi-incontournables de Et pourtant, il n’est pas si difficile de EDITO riverains, soyez discrets ! billetteries. Aujourd’hui ce sont donc faire autrement. Les spectateurs du Temps TRAVAUX PUBLICS trois enseignes, toutes propriétés de Machine font un geste devenu banal voire multinationales, qui se partagent cet transparent pour eux mais pourtant de Association loi 1901. Siret : 442 480 760 00051 / APE : 9004Z énorme marché. l’ordre de l’exceptionnel si l’on regarde Licences d’entrepreneur de spectacles De 2004 à 2008, les deux principaux le paysage national. 3 n°1-1047594 n°2-1042495 et n°3-1042494 distributeurs ont fixé en commun le prix Chaque jour, le public du Temps Machine L’ÉQUIPE des commissions, de façon à maximiser achète ses places sur notre site internet Président Guy Narbey leurs profits. Autrement dit, ils se sont Trésorier Mathieu Louis ou directement à la salle et depuis peu Secrétaire Floriane Brault accordés sur les sommes à percevoir à la Bonne Planchette. Banal, sauf que Direction Vincent Launay / Loïc Mathivet contre la vente de chaque billet, sommes Direction technique / Régie générale cette billetterie a la singularité d’être directement ou indirectement prélevées Olivier Claveau indépendante. Et oui ! Aujourd’hui, il est Programmation Fred Landier sur le spectateur alors que cet argent exceptionnel pour une salle de spectacles Chargé de production Nicolas Rotenberg ne participe en rien à la production du Ingénieur son Olivier Roisin de posséder une billetterie gérée de Chargée d'action culturelle Claire Heymans spectacle, ni à un quelconque soutien à la manière totalement autonome, sans avoir Centre ressources Pauline Planté filière artistique. Accompagnement technique David Eugène affaire à un coûteux prestataire d’édition Propagande & Graphisme Sandrine Guillot Parallèlement à cela, un outsider aux ou de vente de billets. Responsable Bar Virginie Richardeau dents longues est venu troubler ce jeu en Billetterie Pierre-François Pradier Le système développé est sûr et nous n’y Fée du logis Cesko tentant d’imposer une nouvelle offre moins trouvons que des avantages pour la structure chère. LE FASCICULE (maîtrise complète de la billetterie) comme Afin de tenter d’étouffer cet empêcheur de pour l’usager (zéro commission). Nous Directeurs de la publication Vincent Launay / Loïc Mathivet. s’enrichir en rond, les deux distributeurs voulons désormais faire partager notre Rédacteurs Fred Landier, Nicolas Rotenberg, incriminés ont fait du chantage aux expérience, prouver qu’il n’y a là rien Olivier Claveau, Pauline Planté, organisateurs, en refusant de vendre des Claire Heymans, Vincent Launay. d’insurmontable à se passer de coûteux Création, réalisation Sandrine Guillot (mme12). billets commercialisés chez leur nouveau services et ainsi convaincre d’autres lieux Impression Imprimerie Vincent. Tirage 14.000 concurrent, privant ainsi les spectacles culturels que le service public se niche exemplaires. Document imprimé sur papiers issus de forêts gérées durablement - Imprim’Vert®. d’une visibilité importante. aussi dans sa billetterie. Supprimer les Tous droits de reproduction réservés intermédiaires, revenir au circuit court, (photos, images, textes). Les sociétés condamnées ont reconnu leurs Programmation sous réserve de modification. torts, minimisant ainsi le montant de directement du producteur au consommateur, Ne pas jeter sur la voie publique (s’il l’amende. de l’organisateur au spectateur. vous plaît). (VL) OÙ ET COMMENT ACHETER SON ABONNEMENT ET SES BILLETS POUR LE TEMPS MACHINE ? AU TEMPS MACHINE L’ABONNEMENT / SAISON 2 ● Mardi, jeudi et vendredi : 14h00 - 18h00 Vous aimez le Temps Machine, sa ● Mercredi : 10h00 - 12h00 & 14h00 - 18h00 programmation, son ambiance ? Abonnez- ● Samedi : 14h00 - 17h00 vous, vous n’y trouverez que des avantages : A LA BONNE PLANCHETTE ► Le tarif le plus bas pour tous les concerts du Temps Machine. 11 Rue Du Président Merville - 37000 Tours ● Lundi 14h00 - 19h00 ► Des tarifs réduits pour les concerts ● Du mardi au samedi 10h30 - 19h00 des salles partenaires (Petit Faucheux, Astrolabe, Chato’do, Confort Moderne, EN LIGNE www.letempsmachine.com Excelsior et Emmetrop). Vous pouvez acheter votre abonnement et/ ► Des surprises ! ou vos billets directement sur le site du La carte est valable jusqu’en août 2013. es Temps Machine (sans frais supplémentaires, pas d'inscription nécessaire, transaction Tarifs de la carte d’abonnement : qu bancaire sécurisée). ● Titulaires du Passeport Culturel Etudiant ti Il vous suffit ensuite de présenter votre (PCE) : 10€* a billet à l’entrée du concert (version ● Tarif réduit : 15€ R imprimée ou pdf sur votre smartphone). ● Tarif normal : 25€ p * L’achat des abonnements au tarif PCE ne peut se S LES TARIFS faire qu’au Temps Machine ou à La Bonne Planchette LE sur présentation du Passeport Culturel en cours ● Tarif abonné : réservé aux titulaires de de validité. la carte d’abonnement du Temps Machine ou p des cartes des salles partenaires (Petit Pensez à vous munir d’une photo d’identité pour ROGR Faucheux, Astrolabe, Chato’do, Confort la fabrication de votre carte d’abonnement ! Moderne, l'Excelsior et Emmetrop). LE NEWSLETTER a ● Tarif réduit : bénéficiaires du RSA, MME demandeurs d’emploi, étudiants, moins de 18 Pour recevoir actualités et exclusivités du ans et clients Caisse d'Epargne (dans la limite Temps Machine, vous pouvez vous inscrire à DES INFOS TRè INFOS DES de 10 places) sur présentation d’un justificatif. la newsletter depuis notre site internet. 4 PROGRAMME 5 MERCREDI 06 MaRS abonné 8€ LA GRANDE SALLE JAMES CHANCE & LES CONTORTIONS réduit 10€ 20h30 --> plein prévente 12€ plein sur place 15€ X-RAY POP (Tours, FR.) encore plus le futur "növö" déjà pas mal JAMES CHANCE raconté par Yves Adrien - une des idoles de Doc Pilot. X-RAY POP arriva en 84, à un moment où tout devenait possible, quand des tonnes & LES CONTORTIONS (NY, USA) de musiciens de chambre découvraient les joies du home studio (à savoir un synthé, un X-RAY POP enregistreur 4 pistes et un micro) et que la pop commençait à s'émanciper des guitares. On retrouvera des titres du duo dans des compilations underground du monde entier, et "El Gato" sera même single de la semaine dans le Melody Maker, et single du mois dans le NME. 50 projets plus tard, Doc Pilot réactive X-RAY POP, en 97, sort cinq albums chez East West et co-signe des
Load more

Recommended publications
  • Max Neuhaus, R. Murray Schafer, and the Challenges of Noise
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE Megan Elizabeth Murph University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2018.233 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Murph, Megan Elizabeth, "MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE" (2018). Theses and Dissertations--Music. 118. https://uknowledge.uky.edu/music_etds/118 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • Media Ecologies: Materialist Energies in Art and Technoculture, Matthew Fuller, 2005 Media Ecologies
    M796883front.qxd 8/1/05 11:15 AM Page 1 Media Ecologies Media Ecologies Materialist Energies in Art and Technoculture Matthew Fuller In Media Ecologies, Matthew Fuller asks what happens when media systems interact. Complex objects such as media systems—understood here as processes, or ele- ments in a composition as much as “things”—have become informational as much as physical, but without losing any of their fundamental materiality. Fuller looks at this multi- plicitous materiality—how it can be sensed, made use of, and how it makes other possibilities tangible. He investi- gates the ways the different qualities in media systems can be said to mix and interrelate, and, as he writes, “to produce patterns, dangers, and potentials.” Fuller draws on texts by Félix Guattari and Gilles Deleuze, as well as writings by Friedrich Nietzsche, Marshall McLuhan, Donna Haraway, Friedrich Kittler, and others, to define and extend the idea of “media ecology.” Arguing that the only way to find out about what happens new media/technology when media systems interact is to carry out such interac- tions, Fuller traces a series of media ecologies—“taking every path in a labyrinth simultaneously,” as he describes one chapter. He looks at contemporary London-based pirate radio and its interweaving of high- and low-tech “Media Ecologies offers an exciting first map of the mutational body of media systems; the “medial will to power” illustrated by analog and digital media technologies. Fuller rethinks the generation and “the camera that ate itself”; how, as seen in a range of interaction of media by connecting the ethical and aesthetic dimensions compelling interpretations of new media works, the capac- of perception.” ities and behaviors of media objects are affected when —Luciana Parisi, Leader, MA Program in Cybernetic Culture, University of they are in “abnormal” relationships with other objects; East London and each step in a sequence of Web pages, Cctv—world wide watch, that encourages viewers to report crimes seen Media Ecologies via webcams.
    [Show full text]
  • A Web Version of My CV
    Jonathan Sterne ————————————————————————————— (last revised August 2016) Department of Art History and Communication Studies McGill University +1 514-398-5852 (office) 853 Sherbrooke St. W. Montreal, QC Canada H3A 0G5 [email protected] http://sterneworks.org @jonathansterne Contents: Education, Positions, Grants, Honors, Etc. 2 Publications 4 Work in progress and forthcoming 14 Public Scholarship, Multimodal 15 Scholarship, Commentary Invited Presentations 18 Conference Participation 30 Teaching 37 Service 46 Media and Public Appearances 53 (incomplete) Jonathan Sterne 2 Education Ph.D. 1999, Institute of Communications Research (and Certificate in Criticism and Interpretive Theory), University of Illinois at Urbana-Champaign. A.M., 1995, Department of Speech Communication, University of Illinois at Urbana-Champaign. B.A. summa cum laude, 1993, Humanities, University of Minnesota. Positions McGill University James McGill Chair in Culture and Technology, 2014- Professor, Department of Art History and Communication Studies, 2013- Associate Member: Institute for Gender, Sexuality and Feminist Studies, 2009-; Department of Music Research, 2016-. Centre and Program Affiliations: Media@McGill 2005-; Centre for Interdisciplinary Research in Music, Media and Technology, 2013-; Media History Research Centre (Concordia), 2013-; History and Philosophy of Science Program, 2004-2014. Acting Director, Media@McGill, 2014-15 Chair, Department of Art History and Communication Studies, 2007-2010 Graduate Program Director, Communication Studies, 2005-2007 Associate Professor, Department of Art History and Communication Studies, 2005-2013. Assistant Professor, Department of Art History and Communication Studies, 2004-2005. University of Pittsburgh Assistant Professor, Department of Communication, 1999-2004. Additional affiliations: Program for Cultural Studies, Program in Global Studies, Women’s Studies Program. Grants (Canadian grants in Canadian currency; U.S.
    [Show full text]
  • Freeandfreak Ysince
    FREEANDFREAKYSINCE | DECEMBER THIS WEEK CHICAGOREADER | DECEMBER | VOLUME NUMBER IN THIS ISSUE TR - YEARINREVIEW 20 TheInternetTheyearofTikTok theWorldoff erstidylessonson “bootgaze”crewtheKeenerFamily @ 04 TheReaderThestoryof 21 DanceInayearoflosswefound Americanpowerdynamicsand returnwithasecondEP astoldthroughsomeofourfavorite thatdanceiseverywhere WildMountainThymefeaturesone PPTB covers 22 TheaterChicagotheaterartists ofthemostagonizingcourtshipsin OPINION PECKH 06 FoodChicagorestaurantsate rosetochallengesandcreated moviehistory 40 NationalPoliticsWhen ECS K CLR H shitthisyearAlotofshitwasstill newonesin politiciansselloutwealllose GD AH prettygreat 24 MoviesRelivetheyearinfi lm MUSIC &NIGHTLIFE 42 SavageLoveDanSavage MEP M 08 Joravsky|PoliticsIthinkwe withthesedoublefeatures 34 ChicagoansofNoteDoug answersquestionsaboutmonsters TDEKR CEBW canallagreethenextyearhasgot 28 AlbumsThebestoverlooked Maloneownerandleadengineer inbedandmothersinlaw AEJL tobebetter Chicagorecordsof JamdekRecordingStudio SWMD LG 10 NewsOntheviolencesadness 30 GigPostersTheReadergot 35 RecordsofNoteApandemic DI BJ MS CLASSIFIEDS EAS N L andhopeof creativetofi ndwaystokeep can’tstopthemusicandthisweek 43 Jobs PM KW 14 Isaacs|CultureSheearned upli ingChicagoartistsin theReaderreviewscurrentreleases 43 Apartments&Spaces L CSC-J thetitlestillhewasdissingher! 32 MusiciansThemusicscene byDJEarltheMiyumiProject 43 Marketplace SJR F AM R WouldhedothesametosayDr doubleddownonmutualaidand FreddieOldSoulMarkLanegan CEBN B Kissinger? fundraisingforcommunitygroups
    [Show full text]
  • A Scene Without a Name: Indie Classical and American New Music in the Twenty-First Century
    A SCENE WITHOUT A NAME: INDIE CLASSICAL AND AMERICAN NEW MUSIC IN THE TWENTY-FIRST CENTURY William Robin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2016 Approved by: Mark Katz Andrea Bohlman Mark Evan Bonds Tim Carter Benjamin Piekut © 2016 William Robin ALL RIGHTS RESERVED ii ABSTRACT WILLIAM ROBIN: A Scene Without a Name: Indie Classical and American New Music in the Twenty-First Century (Under the direction of Mark Katz) This dissertation represents the first study of indie classical, a significant subset of new music in the twenty-first century United States. The definition of “indie classical” has been a point of controversy among musicians: I thus examine the phrase in its multiplicity, providing a framework to understand its many meanings and practices. Indie classical offers a lens through which to study the social: the web of relations through which new music is structured, comprised in a heterogeneous array of actors, from composers and performers to journalists and publicists to blog posts and music venues. This study reveals the mechanisms through which a musical movement establishes itself in American cultural life; demonstrates how intermediaries such as performers, administrators, critics, and publicists fundamentally shape artistic discourses; and offers a model for analyzing institutional identity and understanding the essential role of institutions in new music. Three chapters each consider indie classical through a different set of practices: as a young generation of musicians that constructed itself in shared institutional backgrounds and performative acts of grouping; as an identity for New Amsterdam Records that powerfully shaped the record label’s music and its dissemination; and as a collaboration between the ensemble yMusic and Duke University that sheds light on the twenty-first century status of the new-music ensemble and the composition PhD program.
    [Show full text]
  • MUSIC and the ECLIPSE of MODERNISM By
    SIGNAL TO NOISE: MUSIC AND THE ECLIPSE OF MODERNISM By MATTHEW FRIEDMAN A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in History written under the direction of T.J. Jackson Lears and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey May 2013 ABSTRACT OF THE DISSERTATION Signal to Noise: Music and the Eclipse of Modernism By MATTHEW FRIEDMAN Dissertation Director: T.J. Jackson Lears There was danger in the modern American soundscape; the danger of interruption and disorder. The rhetoric of postwar aural culture was preoccupied with containing sounds and keeping them in their appropriate places. The management and domestication of noise was a critical political and social issue in the quarter century following the Second World War. It was also an aesthetic issue. Although technological noise was celebrated in modern American literature, music and popular culture as a signal of technological sublime and the promise of modern rationality in the US, after 1945 noise that had been exceptional and sublime became mundane. Technological noise was resignified as "pollution" and narrated as the aural detritus of modernity. Modern music reinforced this project through the production of hegemonic fields of representation that legitimized the discursive boundaries of modernity and delegitimized that which lay outside of them. Postwar American modernist composers, reconfigured as technical specialists, developed a hyper-rational idiom of "total control" which sought to discipline aural disorder and police the boundaries between aesthetically- acceptable music and sound and disruptive noise.
    [Show full text]
  • Ambient Music the Complete Guide
    Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality.
    [Show full text]
  • Corpus Antville
    Corpus Epistemológico da Investigação Vídeos musicais referenciados pela comunidade Antville entre Junho de 2006 e Junho de 2011 no blogue homónimo www.videos.antville.org Data Título do post 01‐06‐2006 videos at multiple speeds? 01‐06‐2006 music videos based on cars? 01‐06‐2006 can anyone tell me videos with machine guns? 01‐06‐2006 Muse "Supermassive Black Hole" (Dir: Floria Sigismondi) 01‐06‐2006 Skye ‐ "What's Wrong With Me" 01‐06‐2006 Madison "Radiate". Directed by Erin Levendorf 01‐06‐2006 PANASONIC “SHARE THE AIR†VIDEO CONTEST 01‐06‐2006 Number of times 'panasonic' mentioned in last post 01‐06‐2006 Please Panasonic 01‐06‐2006 Paul Oakenfold "FASTER KILL FASTER PUSSYCAT" : Dir. Jake Nava 01‐06‐2006 Presets "Down Down Down" : Dir. Presets + Kim Greenway 01‐06‐2006 Lansing‐Dreiden "A Line You Can Cross" : Dir. 01‐06‐2006 SnowPatrol "You're All I Have" : Dir. 01‐06‐2006 Wolfmother "White Unicorn" : Dir. Kris Moyes? 01‐06‐2006 Fiona Apple ‐ Across The Universe ‐ Director ‐ Paul Thomas Anderson. 02‐06‐2006 Ayumi Hamasaki ‐ Real Me ‐ Director: Ukon Kamimura 02‐06‐2006 They Might Be Giants ‐ "Dallas" d. Asterisk 02‐06‐2006 Bersuit Vergarabat "Sencillamente" 02‐06‐2006 Lily Allen ‐ LDN (epk promo) directed by Ben & Greg 02‐06‐2006 Jamie T 'Sheila' directed by Nima Nourizadeh 02‐06‐2006 Farben Lehre ''Terrorystan'', Director: Marek Gluziñski 02‐06‐2006 Chris And The Other Girls ‐ Lullaby (director: Christian Pitschl, camera: Federico Salvalaio) 02‐06‐2006 Megan Mullins ''Ain't What It Used To Be'' 02‐06‐2006 Mr.
    [Show full text]
  • 1 Ervin Jarek 2017 PHD.Pdf
    ii © Copyright by Jarek Paul Ervin All Rights Reserved May 2017 iii ABSTRACT My dissertation takes a speculative cue from the reception of 1970s New York punk, which is typically treated as both rule – the symbolic site of origin – and exception – a protean moment before the crystallization of punk proper. For this reason, artists such as Velvet Underground, Patti Smith, the Ramones, and Blondie are today afforded the simultaneous status of originators, interlopers, innovators, and successors. This has led both to the genre’s canonicity in the music world and its general neglect within scholarship. I argue that punk ought to be understood less as a set of stylistic precepts (ones that could be originated and then developed), than as a set of philosophical claims about the character of rock music in the 1970s. Punk artists such as Patti Smith, Jayne County, and the Ramones developed an aesthetic theory through sound. This was an act of accounting, which foregrounded the role of historical memory and recast a mode of reflexive imagination as musical practice. At times mournful, at times optimistic about the possibility of reconciliation, punk was a restorative aesthetics, an attempt to forge a new path on memories of rock’s past. My first chapter looks at the relationship between early punk and rock music, its ostensible music parent. Through close readings of writing by important punk critics including Greil Marcus, Lester Bangs, and Ellen Willis – as well as analyses of songs by the Velvet Underground and Suicide – I argue that a historical materialist approach offers a new in-road to old debates about punk’s progressive/regressive musical character.
    [Show full text]
  • Blood on the Tracks: Pynchon, Bleeding Edge, and (Un)Popular Music from Britney to Black Metal
    orbit. Article How to Cite: Thomas, S 2019 Blood on the Tracks: Pynchon, Bleeding Edge, and (Un)Popular Music from Britney to Black Metal. Orbit: A J ournal of American Literature, 7(1): 3, 1–55. DOI: https://doi.org/10.16995/ orbit.788 Published: 11 June 2019 Peer Review: This article was peer-reviewed internally by the guest editor and by a member of the Orbit editorial team. Copyright: © 2019 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Orbit: A Journal of American Literature is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Thomas, S 2019 Blood on the Tracks: Pynchon, Bleeding Edge, and (Un)Popular Music from Britney to . orbit Black Metal. Orbit: A Journal of American Literature, 7(1): 3, 1–55. DOI: https://doi.org/10.16995/orbit.788 ARTICLE Blood on the Tracks: Pynchon, Bleeding Edge, and (Un)Popular Music from Britney to Black Metal Samuel Thomas Durham University, UK [email protected] This article explores Pynchon’s allusions to popular (and unpopular) music in Bleeding Edge (2013). I argue that Pynchon’s engagement with music can not only be understood in terms of its periodizing function but also as an intricate practice of historical and prophetic/proleptic layering.
    [Show full text]
  • N° 252 200 Formations Pôle Alternance De Bac À Bac +5
    LE QUINZOMADAIRE DE TOUTES VOS SORTIES Marseille + Bouches-du-Rhône CINÉ MUSIQUE EXPOS THÉÂTRE DANSE DU 25 NOVEMBRE AU 08 DÉCEMBRE www.journalventilo.fr GRATUIT N° 252 200 FORMATIONS PÔLE ALTERNANCE DE BAC À BAC +5 &&&'9w8:B7G:'%%. E6G88=6CDI"=6AA& B6GH:>AA: KZcYgZY^YZ&)]|&-]"HVbZY^YZ&%]|&-] >CK>I6I>DC<G6IJ>I:HJGLLL#HIJ9NG6B6#8DB Infoline 0891 36 05 28 (0,225 E/min.) RADIOO 92.3 FM - - - - - - - - - - - Rencontres d’Averroès Initiées en 1994, les Rencontres d’Averroès, qui s’exportent désormais avec succès, entre- prennent de « penser la Méditerranée des deux rives ». En rassemblant chercheurs, écrivains et artistes, il s’agit de rechercher l’harmonie et l’or- dre « là où règne la discorde » et d’écarter une vi- sion simpliste des tensions afi n de réfl échir ensem- Aurore Valade & Lætitia Bianchi - Plein Air / page 4 / ble (dans) un futur commun. Articulée autour des La lauréate 2008 du Prix Fondation HSBC pour incontournables tables rondes, prenant cette année la photographie revient dans sa ville natale pour pour thème « La Méditerranée, fi gures du tragique », une exposition prolongeant le travail mené de- la manifestation sera émaillée de rencontres littérai- puis cinq ans, à savoir une photographie ques- res, spectacles et projections de documentaires. tionnant la sphère privée et ses limites. Après une _JUSQU’AU 6/12 À MARSEILLE série présentant des personnes jouant leur propre rôle dans leur intérieur, Plein Air, comme son nom Une question essentielle a / page 16 / l’indique, déplace les gestes de l’intime dans l’espa- été sortie du terrain par un ce public via des compositions picturales baroques.
    [Show full text]
  • Parenthetical Girls
    SENTIREASCOLTAREDIGital MAGAZINE SETTEMBRE N. 47 DAVID EUGENE EDWARDS ALVA NOTO SOUL JAZZ RECORDS NEW YEAR ARMATRADING PARENTHETICAL GIRLS 4 NEWS 6 TURN ON SILVER RAY, NEW YEAR, ALVA NOTO 16 TUNE IN PARENTHETICAL GIRLS, DAVID EUGENE EDWARDS 24 DroP OUT SOUL JAZZ, NOISE ROCK ITALIANO 42 RECENSIONI ABE VIGODA, KEVIN DRUMM, DAVID BYRNE & BRIAN ENO 106 WE ARE DEMO 108 REARVIEW Mirror JOAN ARMATRADING 120 CUlt MOVIE REDACTED 122 LA SERA DELLA PRIMA IL CAVALIERE OSCURO, FUNNY GAMES 126 I COSIDDETTI CONTEMPORANEI HANNS EISLER DIRETTORE Edoardo Bridda COOR D IN A MENTO Teresa Greco CON S ULENTI A LL A RE da ZIONE Daniele Follero Stefano Solventi ST A FF Gaspare Caliri Nicolas Campagnari Antonello Comunale Antonio Puglia HA NNO C OLL A BOR A TO Gianni Avella, Paolo Bassotti, Davide Brace, Marco Braggion, Filippo Bordignon, Marco Canepari, Manfredi Lamartina, Gabriele Maruti, Stefano Pifferi, Andrea Provinciali, Costanza Salvi, Vincenzo Santarcangelo, Giancarlo Turra, Fabrizio Zampighi, Giuseppe Zucco GUI da S PIRITU A LE Adriano Trauber (1966-2004) GR A FI ca Nicolas Campagnari IN C OPERTIN A Parenthetical Girls SentireAscoltare online music magazine Registrazione Trib.BO N° 7590 del 28/10/05 Editore Edoardo Bridda Direttore responsabile Antonello Comunale Provider NGI S.p.A. Copyright © 2008 Edoardo Bridda. Tutti i diritti riservati.La riproduzione totale o parziale, in qualsiasi forma, su qualsiasi supporto e con qualsiasi mezzo, è proibita senza autorizzazione scritta di SentireAscoltare SA 3 S W Make Mine Music, così come il progetto so- accorge di aver messo su anche nella stes- Inoltre installazioni audio e video, proiezio- lista di Glen Johnson, Textile Ranch (The sa cartella la versione non masterizzata del ni, incontri con gli artisti ospiti, in una se- NE Rest, I Leave It To The Poor)… nuovo disco Atlas Sound (Logos) e un inte- quenza ininterrotta di eventi, dal pomerig- ro disco nuovo dei Deerhunter (Weird Era gio a notte inoltrata.
    [Show full text]