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Barbara Hammer, 70 Years Old, Hands the Camera to Gina Carducci, a Young Queer Film- Maker
Generations is a film about mentoring and passing on the tradi- tion of personal experimental filmmaking. Barbara Hammer, 70 years old, hands the camera to Gina Carducci, a young queer film- maker. Shooting during the last days of Astroland at Coney Is- land, New York, the filmmakers find that the inevitable fact of ageing echoes in the architecture of the amusement park and in the emulsion of the film medium itself. Editing completely sep- arately both picture and sound, the filmmakers join their films in the middle when they’ve finished, making a true generational and experimental experiment. In a time when digital dominates the art domain, a DIY aesthet- ic is embraced by Gina Carducci, a young thirty-year-old filmmak- er who hand processes 16mm film and a seventy-year-old pioneer of queer experimental cinema, Barbara Hammer. Hammer invites Carducci to collaborate on a new film, Generations. Barbara Hammer Celebrating Hammer’s spontaneous shooting style and dense ed- Maya Deren’s Sink iting montage with Carducci’s studied cinematography, the two filmmakers, generations apart in age, shoot the last days of Astro- land in Coney Island, New York. The aged but vibrant amusement Eine Hommage an die Mutter des amerikanischen Avantgarde- park, characteristic of the 70-year-old Hammer, is a fitting envi- films. Der Film beschwört durch Gespräche mit WeggefährtInnen ronment for the photoplay of the two Bolex filmmakers. und ZeitgenossInnen den Geist einer überlebensgroßen Person. Teiji Itos Familie, Carolee Schneemann und Judith Malvina schwe- Inspired by the revolutionary Shirley Clarke film,Bridges Go ben durch Derens Wohnorte und erinnern sich an kleinste Details Round (1953), where Clarke printed the same footage twice us- der architektonischen und persönlichen Innenräume. -
Barbara Hammer – Technology of Touch Chapter 2
!1 ! The concerns of O’Neill’s first 15 years of filmmaking — the graphic qualities of the image, the role of stasis in the context of a time-based art form, and the process-based applications of technology in making art — are writ large in the second phase of his career, in which he shifted to 35mm for a series of extraordinarily accomplished feature-length films. In these films, which include Water and Power (1989) and Decay of Fiction (2002), the sketch- based experimentation of his earlier work is supplanted with a symphonic form that seeks to unify its disparate elements into a thematically cohesive whole, often with more pronounced political engagement. In both phases of his career, O’Neill has used the optical printer to experiment with form, which is often linked to art historical ideas about design, process, and perspective. This stands in contrast to Barbara Hammer, whose own innovative use of the printer is tied directly to its capacity to provide an emotionally accurate representation of her personal feelings and desires. ! Barbara Hammer: The Technology of Touch If ever there were a meta-film about optical printing, materiality, and the marginalization of the avant-garde filmmaker, Barbara Hammer’s Endangered (1988) is it. An urgent warning about the precarious position of experimental filmmakers, light, and life on planet Earth, this fragile film begins with an off-kilter double exposure of Hammer working steadily on her optical printer while snowflakes, depicted as particles of light energy, swirl around her silhouette. In a series of traveling mattes, boxes-within-boxes expand and contract, dividing abstract patterns of light into discontinuous fragments. -
Eat Like a Republican and You Won't Get AIDS
TRANSMISSIONS: THE JOURNAL OF FILM AND MEDIA STUDIES 2017, VOL.2, NO. 1, PP. 150-160. Andrzej Pitrus Jagiellonian University Eat like a Republican and you won’t get AIDS - a conversation with Barbara Hammer Andrzej Pitrus: In 2009 I had the honor to speak to Jonas Mekas. Many people consider him the father of American avant-garde. Do you agree? Barbara Hammer: I don’t agree. Should I tell you why? Yes, sure. I think Jonas Mekas did a lot to contribute to avant-garde film in the United States and internationally, but in terms of American avant-garde, I think we have to look to Maya Deren, and even before – to James Sibley Watson, his Fall of the House of Usher in 1928. His Lot in Sodom was shown,—I was shocked to read this—in Times Square in 1933 without any censorship at all. Before Mekas there were many American experimental filmmakers, but he was a person promoted their works. Of course I asked Jonas: “Do you feel more Lithuanian or American?” He answered “No, I’m not American, I’m from New York. When I go outside the city, I’m a foreigner again.” I also asked him for his definition of experimental film and he said: “There’s no such thing! Scientists make experiments, I don’t really believe that there’s something like experimental film”. It was a difficult conversation in a way. I wonder if you agree with him? I definitely think there’s something like experimental film. In Sanctus (1990), which is composed of moving x-rays of a human body that Dr. -
JUMP CUT the Films of Barbara Hammer Countercurrencies of A
JUMP CUT A REVIEW OF CONTEMPORARY MEDIA The films of Barbara Hammer Countercurrencies of a lesbian iconography by Jacquelyn Zita from Jump Cut, no. 24-25, March 1981, pp. 31-32 copyright Jump Cut: A Review of Contemporary Media, 1981, 2005 Initially the lesbian body has no meaning. The presumption of difference is a cultural artifact, composed of signs and images that have been bartered for the meaning of a lesbian's experience and the use of her body. The currency for the most part has belonged to men, as has the exchange. The body named carried the burden of a language not its own and a shameful silence imposed by those who signified its meaning. Lesbian voices remained smothered by the many levels of meta-discourse, translation, explanation, diagnosis, and condemnation. Lesbian bodies remained stilled by the force of another discourse, which extracted, displayed, and ridiculed the unfathomable difference of lesbian desire. With the proliferation of psychoanalytic categories, the lesbian became a specimen of medical curiosity. Her crime against nature was translated into a new text of aberration and illness, but the intention of the text remained the same: denial and negation of the lesbian body. The symbolic burial of the lesbian body has assumed many different forms, each with its own mode of cultural liquidation. This social oppression is transhistorical under patriarchy, but not ahistorical. It changes historically to fit the variety of father-tongues and the predominant modes of patriarchal hegemony belonging to various periods. Yet withstanding the immensity of repressive regimes, the "crime" of lesbianism remained restive and uncontained. -
Mct2 G5 La-Pt3
MS515389-8358_Gr5_LA-ST 5/8/09 10:45 AM Page 1 Student Name GRADE Mississippi Curriculum Test, Second Edition 5 MCT2 PRACTICE TEST BOOK LANGUAGE ARTS Practice Test 3 for MCT2 is developed and published by the Mississippi Department of Education. Copyright © 2009 by Mississippi Department of Education. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. The Mississippi logo appears courtesy of the Mississippi Development Authority. MS515393-8110_Gr3Fm1_R 2/2/09 3:52 PM Page 3 Language Arts: Section 1 Reading YOU ARE ONLY ALLOWED TO REVIEW THIS SECTION OF THE TEST TODAY. Page 3 MS515389-8358_Gr5_LA-ST 5/8/09 10:45 AM Page 4 R Read the following passage “Dare to Run.” Then answer questions 1–6 based on the passage. You may turn back to the passage as you answer questions. You may write in your test booklet, but you must mark your answers on your answer document. Dare to Run “Who’s next?” the coach called as I stood in line to sign up for the middle school track team. “Kayla Monroe,” I said as I stepped forward with a big smile. “Is this your first year running track?” the coach asked. 5 “Yes, yes, it is.” I stumbled over my words a little. I was afraid the coach might think I was too young to be on the team since I was still in fifth grade. “Track isn’t an easy sport,” he said. -
Local Jazz Lives at Bellevue and Gig Harbor Festivals Bob Russell
INSIDE: Reviews of Marc Seales, Steve Rice Trio & Bud Shank Earshot J Seattle, July 1989 A Mirror and Focus for the Jazz Community I ^ Local Jazz Lives at Bellevue and Roots of Jazz: Gig Harbor Festivals Bob Russell Despite budget cuts and wavering sup Trumpeter Bob Russell started playing profession port from the Bellevue City Parks Depart ally in Kansas City in the 1920s, and moved to Seattle in 1944. Before coming to Seattle, he ment, it appears the Bellevue Jazz Festival, worked with drummer Vernon Brown in Milwau slated for July 10 - 16, will prevail as one of kee and recorded with Grant Moore's New Or the most important showcases for top local leans Black Devils. Brown sent for Russell in 1944 and throughout the '40s Russell was a member of jazz talent. Set in a beautiful downtown loca the popular Al Pierre band, which held down a tion against a backdrop of glass skyscrapers, steady job at Seattle s Marine (later Union) Club. the festival will spread out on a grass lawn so Laudatory mentions of Russell by other subjects ofthe "Roots of Jazz" project led us to draw out green, "it's like the lawn in your wildest his recollections. The following excerpts are from dreams," says organizer Jim Wilke. an interview taken by Ted Dzielak at Russell's This year's festival will feature a free home, March 7, 1989. This interview was made possible in part with support from the King County concert Friday evening, July 14; an evening Centennial Commission and the King County concert on Saturday, July 15 (admission S3); Landmarks Heritage Division. -
Acoustic Guitar Songs by Title 11Th Street Waltz Sean Mcgowan Sean
Acoustic Guitar Songs by Title Title Creator(s) Arranger Performer Month Year 101 South Peter Finger Peter Finger Mar 2000 11th Street Waltz Sean McGowan Sean McGowan Aug 2012 1952 Vincent Black Lightning Richard Thompson Richard Thompson Nov/Dec 1993 39 Brian May Queen May 2015 50 Ways to Leave Your Lover Paul Simon Paul Simon Jan 2019 500 Miles Traditional Mar/Apr 1992 5927 California Street Teja Gerken Jan 2013 A Blacksmith Courted Me Traditional Martin Simpson Martin Simpson May 2004 A Daughter in Denver Tom Paxton Tom Paxton Aug 2017 A Day at the Races Preston Reed Preston Reed Jul/Aug 1992 A Grandmother's Wish Keola Beamer, Auntie Alice Namakelua Keola Beamer Sep 2001 A Hard Rain's A-Gonna Fall Bob Dylan Bob Dylan Dec 2000 A Little Love, A Little Kiss Adrian Ross, Lao Silesu Eddie Lang Apr 2018 A Natural Man Jack Williams Jack Williams Mar 2017 A Night in Frontenac Beppe Gambetta Beppe Gambetta Jun 2004 A Tribute to Peador O'Donnell Donal Lunny Jerry Douglas Sep 1998 A Whiter Shade of Pale Keith Reed, Gary Brooker Martin Tallstrom Procul Harum Jun 2011 About a Girl Kurt Cobain Nirvana Nov 2009 Act Naturally Vonie Morrison, Johnny Russel The Beatles Nov 2011 Addison's Walk (excerpts) Phil Keaggy Phil Keaggy May/Jun 1992 Adelita Francisco Tarrega Sep 2018 Africa David Paich, Jeff Porcaro Andy McKee Andy McKee Nov 2009 After the Rain Chuck Prophet, Kurt Lipschutz Chuck Prophet Sep 2003 After You've Gone Henry Creamer, Turner Layton Sep 2005 Ain't It Enough Ketch Secor, Willie Watson Old Crow Medicine Show Jan 2013 Ain't Life a Brook -
Rhythm & Blues Rhythm & Blues S E U L B & M H T Y
64 RHYTHM & BLUES RHYTHM & BLUES ARTHUR ALEXANDER JESSE BELVIN THE MONU MENT YEARS CD CHD 805 € 17.75 GUESS WHO? THE RCA VICTOR (Baby) For You- The Other Woman (In My Life)- Stay By Me- Me And RECORD INGS (2-CD) CD CH2 1020 € 23.25 Mine- Show Me The Road- Turn Around (And Try Me)- Baby This CD-1:- Secret Love- Love Is Here To Stay- Ol’Man River- Now You Baby That- Baby I Love You- In My Sorrow- I Want To Marry You- In Know- Zing! Went The My Baby’s Eyes- Love’s Where Life Begins- Miles And Miles From Strings Of My Heart- Home- You Don’t Love Me (You Don’t Care)- I Need You Baby- Guess Who- Witch craft- We’re Gonna Hate Ourselves In The Morn ing- Spanish Harlem- My Funny Valen tine- Concerte Jungle- Talk ing Care Of A Woman- Set Me Free- Bye Bye Funny- Take Me Back To Love- Another Time, Another Place- Cry Like A Baby- Glory Road- The Island- (I’m Afraid) The Call Me Honey- The Migrant- Lover Please- In The Middle Of It All Masquer ade Is Over- · (1965-72 ‘Monument’) (77:39/28) In den Jahren 1965-72 Alright, Okay, You Win- entstandene Aufnahmen in seinem eigenwilligen Stil, einer Ever Since We Met- Pledg- Mischung aus Soul und Country Music / his songs were covered ing My Love- My Girl Is Just by the Stones and Beatles. Unique country-soul music. Enough Woman For Me- SIL AUSTIN Volare (Nel Blu Dipinto Di SWINGSATION CD 547 876 € 16.75 Blu)- Old MacDonald (The Dogwood Junc tion- Wildwood- Slow Walk- Pink Shade Of Blue- Charg ers)- Dandilyon Walkin’ And Talkin’- Fine (The Charg ers)- CD-2:- Brown Frame- Train Whis- Give Me Love- I’ll Never -
Big Ears: Listening for Gender in Jazz Studies*
Big Ears: Listening for Gender in Jazz Studies* By Sherrie Tucker His wife Lil often played piano. Ken Burns's Jazz, on Lil Hardin Armstrong. are they his third or fourth wives, or two new members of the brass section?" Cartoon caption, Down Beat, August 15, 1943. My ears were like antennae and my brain was like a sponge. Clora Bryant, trumpet player, on her first encounters with bebop. Injazz, the term "big ears" refers to the ability to hear and make mean ing out of complex music. One needs "big ears" to make sense of impro visatory negotiations of tricky changes and multiple simultaneous lines and rhythms. "Big ears" are needed to hear dissonances and silences. They are needed to follow nuanced conversations between soloists; between soloists and rhythm sections; between music and other social realms; be tween multiply situated performers and audiences and institutions; and between the jazz at hand and jazz in history. If jazz was just about hitting the right notes, surviving the chord changes, and letting out the stops,jazz scholars, listeners, and even musicians would not need "big ears." Yet, jazz historiography has historically suffered from a reliance on pre dictable riffs. Great-man epics, sudden genre changes timed by decade, and colorful anecdotes about eccentric individuals mark the comfortable beats. Jazz-quite undeservedly, and all too often-has been subjected to easy listening histories. The familiar construction of jazz history as a logi cal sequence in which one style folds into another, one eccentric genius passes the torch to the next-what Scott DeVeaux (1991) calls "the jazz tradition"-has dominated popular and critical writing about jazz, even the ways our "Survey of Jazz" classes are taught in universities. -
Syllabus, Mujz 100 Spring 2013
MUJZ 100 1 MUJZ 100xm, Jazz: A History of America’s Music Professor Thomas and teaching assistant Gary Wicks Course Description and Objectives: This course will provide a diverse perspective on the evolution of contemporary culture in America by bringing a new awareness on racial prejudices, women’s issues, myths and stereotypes. The content of the text and videos is filled with both historical facts on jazz, as well as the social context during the lives of significant jazz artists. Through African American artists we will witness the racial conditions of the Northern and Southern United States from the turn of the 20th century until the present, and will see that the acceptance of the African American Jazz musician influenced the breakdown of racial walls in society. We will also follow the careers of female musicians who played instruments traditionally dominated by men, ie.: trumpet, trombone, drums, bass and saxophone, particularly during and after World War II. Fulfilling the Diversity Requirement: This course fulfills the Diversity Requirements by focusing on two different forms of difference: race and to a lesser extent, gender. Students will learn about race and racism in several ways, including housing regulations, the racialized nature of the economy, and how institutional racism works, and the perils of women working in a traditionally all male jazz world, and how learning about and living in a diverse society can function as a form of enrichment. Diversity Concentration: The diversity dimensions for this course will be Race and Gender. Improvisation, the main ingredient of jazz, allows the performer to create in the moment, bringing about an exciting and unpredictable adventure for the performer and listener. -
KW Short BIO2-13
KEN WALKER BIO : Our “first-call” jazz bassist for the Rocky Mountain region, Ken Walker has played with a veritable Who’s Who of jazz artists including: Eddie Harris, Joe Pass, Marlena Shaw, Kenny Barron, Eric Alexander, Houston Person, Pharaoh Sanders, Phil Woods, Hal Galper, Jimmy Heath,Tom Harrell, John Abercrombie, Randy Brecker, Nat Adderley, Slide Hampton, Clark Terry, Herb Ellis, Freddie Hubbard, Henry Butler, Warren Vache, Larry Coryell, Lew Soloff, James Moody, Roy Hargrove, Peter Erskine, Ed Soph, Butch Miles, Art Lande, Barry Harris, Billy Hart, Bob Berg, Eddie Daniels, Benny Golson, Ravi Coltrane, Emily Remler, Jimmy Heath, Bobby Shew, Charles McPherson, Roseanna Vitro, Sheila Jordan, Mose Allison, Fred Wesley and Bob Dorough. He has toured in Canada, Italy and Australia and also performed at the Telluride, Jazz Aspen Snowmass and other festivals and venues throughout the US. Terra Firma, his recording debut as a leader, stayed on the Jazz Week Radio charts for 17 weeks, reaching #13, and finished #56 on the top 100 Jazz CD releases for 2005. Walker’s discography includes, Phil Woods and Carl Saunders Play Henry Mancini, Two releases on Capri with Curtis Fuller. I Will Tell Her and Down Home, which was the #1 Cd on Jazz Week Radio charts for 4 weeks, and finish at #5 for year 2012. Walker moved to Denver in late 1985 and in 1987 began a 12-year tenure as the house bassist at Denver's legendary jazz club El Chapultepec that ended in 1998. Ken has been on the faculty of the Lamont School of Music since 1991, where he teaches jazz bass to all jazz and commercial bass majors, and coaches the Modal, Standards and Latin Combos in addition to his studio. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context.