Festivus 2019 Music Packet Jordan Brownstein 1. in a Pitchfork Classic Documentary, Steven Drozd Recalls Yelling
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Verspielter Nihilismus
# 2019/44 dschungel https://jungle.world/artikel/2019/44/verspielter-nihilismus Die Vivian Girls sind wütender denn je Verspielter Nihilismus Von Suse Fischer Nach zwischenzeitlicher Bandauflösung gibt es die Vivian Girls wieder – und sie sind wütender denn je. Fünf Jahre ist es her, dass sie sich offiziell auflösten, doch nun brachte die New Yorker Band Vivian Girls frisch wiedervereint mit »Memory« im September ihr viertes Studioalbum heraus. Die zwei ständigen Mitglieder Cassie Ramone und Katy Goodman gehörten in den späten nuller Jahren zunächst zusammen mit Frankie Rose an den Drums – seit dem zweiten Album »Everything Goes Wrong« ist Ali Koehler die Schlagzeugerin der Band – zum Kern der damals florierenden Noise-Pop-Garage-Punk- Szene in Brooklyn um Bands wie die Dum Dum Girls und DIIV. Sechziger-Jahre-Pop-Soundmuster mischen sich auf »Memory« mit äußerst wütenden Riffs. Im Gegensatz zu dem verstrahlten Feelgood-Sound von Bands, die diesem Genre zugeordnet werden können, wie beispielsweise Best Coast (deren Lieder hauptsächlich davon handeln, dass es die Sonne, das Meer und süße Boys gibt und ja, okay, ein bisschen seltsam traurig ist man vielleicht auch, aber es gibt die Sonne, es gibt das Meer, – repeat!), wohnte bereits den früheren Alben der Vivian Girls mit ihren harmonischen, an die Band Warpaint erinnernden choralen Backroundgesängen doch eine gewisse Härte inne, die sich in einem verspielten Nihilismus immer wieder Bahn brach. Was sich damals lediglich erahnen ließ, nimmt nun auf »Memory« deutlich Form an. Verträumt perlende Sechziger-Jahre-Pop-Soundmuster wie von den Shangri-Las (unüberhörbar die Vorbilder der Vivian Girls) mischen sich mit äußerst wütenden Riffs. -
Z 102 Coltrane, John / Giant Steps Z 443 Cooke, Sam
500 Rank Album 102 Coltrane, John / Giant Steps 285 Green, Al / I'm Still in Love With You 180 Abba / The Definitive Collection 443 Cooke, Sam / Live at the Harlem Square Club 61 Guns N'Roses / Appetite for Destruction 73 AC/DC / Back in Black 106 Cooke, Sam / Portrait of a Legend 484 Haggard, Merle / Branded Man 199 AC/DC / Highway to Hell 460 Cooper, Alice / Love It to Death 437 Harrison, George / All Things Must Pass 176 Aerosmith / Rocks 482 Costello, Elvis / Armed Forces 405 Harvey, PJ / Rid of Me 228 Aerosmith / Toys in the Attic 166 Costello, Elvis / Imperial Bedroom 435 Harvey, PJ / To Bring You My Love 49 Allman Brothers Band / At Fillmore East 168 Costello, Elvis / My Aim Is True 15 Hendrix, Jimi Experience / Are You Experienced? 152 B-52's / The B-52's 98 Costello, Elvis / This Year's Model 82 Hendrix, Jimi Experience / Axis: Bold as Love 34 Band / Music from Big Pink 112 Cream / Disraeli Gears 54 Hendrix, Jimi Experience / Electric Ladyland 45 Band / The Band 101 Cream / Fresh Cream 389 Henley, Don / The End of the Innocence 2 Beach Boys / Pet Sounds 203 Cream / Wheels of Fire 312 Hill, Lauryn / The Miseducation of Lauryn Hill 380 Beach Boys / Sunflower 265 Creedence Clearwater Revival / Cosmo's Factory 466 Hole / Live Through This 270 Beach Boys / The Beach Boys Today! 95 Creedence Clearwater Revival / Green River 421 Holly, Buddy & the Crickets / The Chirpin' Crickets 217 Beastie Boys / Licensed to Ill 392 Creedence Clearwater Revival / Willy and the Poor Boys 92 Holly, Buddy / 20 -
John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
Stan Brakhage
DAVID E. JAMES Introduction Stan Brakhage The Activity of His Nature Milton produced Paradise Lost for the same reason that a silk worm produces silk. It was an activity of his nature.—KARL MARX ork on this collection of texts began some three years ago, when we hoped to publish it in 2003 to celebrate Stan Brakhage’s Wseventieth birthday. Instead, belatedly, it mourns his death. The baby who would become James Stanley Brakhage was born on 14 January 1933 in an orphanage in Kansas City, Missouri.1 He was adopted and named by a young couple, Ludwig, a college teacher of business, and his wife, Clara, who had herself been raised by a stepmother. The family moved from town to town in the Middle West and, sensitive to the stresses of his parents’ unhappy marriage, Stanley was a sickly child, asthmatic and over- weight. His mother took a lover, eventually leaving her husband, who sub- sequently came to terms with his homosexuality and also himself took a lover. In 1941, mother and son found themselves alone in Denver. Put in a boys’ home, the child picked up the habits of a petty criminal, but before his delinquency became serious, he was placed with a stable, middle-class family in which he began to discover his gifts. He excelled in writing and dramatics and in singing, becoming one of the leading voices in the choir of the Cathedral of St. John’s in Denver. Retrieving her now-teenaged son, his mother tried to make a musician of him, but Stanley resisted his tutors, even attempting to strangle his voice teacher. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Kristine Stiles
Concerning Consequences STUDIES IN ART, DESTRUCTION, AND TRAUMA Kristine Stiles The University of Chicago Press Chicago and London KRISTINE STILES is the France Family Professor of Art, Art Flistory, and Visual Studies at Duke University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by Kristine Stiles All rights reserved. Published 2016. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 12345 ISBN13: 9780226774510 (cloth) ISBN13: 9780226774534 (paper) ISBN13: 9780226304403 (ebook) DOI: 10.7208/chicago/9780226304403.001.0001 Library of Congress CataloguinginPublication Data Stiles, Kristine, author. Concerning consequences : studies in art, destruction, and trauma / Kristine Stiles, pages cm Includes bibliographical references and index. ISBN 9780226774510 (cloth : alkaline paper) — ISBN 9780226774534 (paperback : alkaline paper) — ISBN 9780226304403 (ebook) 1. Art, Modern — 20th century. 2. Psychic trauma in art. 3. Violence in art. I. Title. N6490.S767 2016 709.04'075 —dc23 2015025618 © This paper meets the requirements of ANSI/NISO z39.481992 (Permanence of Paper). In conversation with Susan Swenson, Kim Jones explained that the drawing on the cover of this book depicts directional forces in "an Xman, dotman war game." The rectangles represent tanks and fortresses, and the lines are for tank movement, combat, and containment: "They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then redraw it in a different posmon... -
John Lennon – Człowiek I Artysta Niespełniony?
Tom 12/2020, ss. 43-72 ISSN 0860-5637 e-ISSN 2657-7704 DOI: 10.19251/rtnp/2020.12(3) www.rtnp.mazowiecka.edu.pl Andrzej Dorobek Mazowiecka Uczelnia Publiczna w Płocku ORCID: 0000-0002-5102-5182 JOHN LENNON – CZŁOWIEK I ARTYSTA NIESPEŁNIONY? JOHN LENNON: A MAN AND ARTIST UNFULFIILLED? Streszczenie: Niniejszy esej jest próbą syntetycznego, poniekąd psychoanalitycznego, ujęcia biografii Johna Lennona, zarówno jako ewidentnie zagubionego geniu- sza muzyki popularnej, jak i ofiary chłopięcego kompleksu zaniedbania przez uwielbianą matkę – później wysublimowanego w kompleks kobiecej dominacji i przeniesionego na Yoko Ono, jego drugą żonę i awangardową „muzę.” W re- zultacie ich związek, w znacznym stopniu wyidealizowany przez media, został ukazany w kontekście relacji Lennona z innymi kobietami (na przykład z ciotką Mimi), sprzecznych cech jego osobowości oraz ewolucji światopoglądowej i ar- tystycznej, która doprowadziła najpierw do dramatycznego rozdarcia między popowym supergwiazdorstwem a awangardowym artystostwem, ostatecznie zaś – do faktycznej niemocy twórczej w ciągu ostatnich pięciu lat życia. Per- John Lennon – człowiek i artysta niespełniony? spektywę komparatystyczną dla tych rozważań wyznaczać będą biografie Elvisa Presleya i Micka Jaggera. Słowa kluczowe: kompleks, trauma, dominacja, „krzyk pierwotny”, gwiaz- dorstwo, artyzm, niespełnienie Summary: In this essay, the author attempts at a synthetic insight into the biography of John Lennon, both as a confused genius of popular music and a victim of the childhood complex of motherly neglect: later transformed into the one of female domination and transferred onto Yoko Ono, his second wife and avant-garde “muse.” Consequently, their marriage, largely idealized by media, is shown here in the context of Lennon’s relations with other women (mainly his mother and aunt Mimi), his contradictory psychological traits and artistic/ ideological evolution that resulted in being torn between pop superstardom, avant-garde artistry and, in last five years, virtual creative impotence. -
Lgbts Confront Persecution
Volume 85 - Issue 10 November 16, 2012 LGBTs confront persecution Airband to Campus group offers support to LGBT students take the place BY TYLER LEHMANN of NBDC FEATURES CO-EDITOR BY GILLIAN ANDERSON Recalling dirty looks on campus and A once-popular Northwestern event, harassment in dorms, Northwestern Airband, will be introduced to a new College’s lesbian, gay, bisexual and generation of students. transgender students said they are Airband is a competition in which “persecuted” at the school. In response, groups create a lip-syncing performance NW’s unofficial student-run LGBT to a song or mix of songs. advocacy group has expanded its efforts “It is lip syncing but not the band to raise awareness of perceived LGBT type of lip syncing,” said Aaron discrimination on campus. Beadner, director of student programs. “Everyone should have a place where Most students were still in high they feel safe and free to be who they school when Airband last took place are and not feel judged or persecuted, and on campus four years ago. Some we want to be that for anyone who needs former students who remember it us,” said senior Keely Wright, executive are now working for NW, and a few administrator of LEAP, an organization current students have heard about it for LGBT-affirming students that is from recent graduates. unaffiliated with NW. “I remember Airband as a student,” Taking its name from the acronym said Drew Schmidt who graduated “Love, Education, Acceptance, Pride,” from NW in 2005 and is now the the group clashes with NW’s official audiovisual technician at NW. -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
Race for the Prize: the Proto-Selfie As Endurance Performance
Race for the Prize: The Proto-Selfie as Endurance Performance Art Marc A. Tasman Abstract: In the paper “Race for the Prize: The Proto-Selfie as Endurance Performance Art,” the author characterizes a small group of artists (including himself) working on time-lapse, self-portrait photographic projects as competitive— in a race with distinct formal, aesthetic, and technical categories. Set on the cusp of the millennial change from 20th to 21st century, these self-portrait works suggested practices and modes of new digital materiality that helped to birth the phenomenon called “the Selfie.” In the few decades before this Web 2.0 debut, the self-portrait was already evolving with electronic media. Neo-avant-garde performance artists and post-modern photographers were making identity-fluid works, self-portraits that were highly performative, prefiguring the coming practices of self-representation in digital networks. An important link, a reference to the passage of time, reinforce a familiar theme in art history—memento-mori, which is a reminder to the viewer that our time alive is fleeting. In this way, along with other threads, including first-hand accounts by the quartet of time-lapse self-portrait artists, we can derive the context and continuity that connects antecedents to descendant selfie practices, ubiquitous in contemporary culture. 1. Introduction I am writing here ten years after the conclusion of the Ten Year Polaroid Project (Figure1), also known as Ten Years and One Day, twenty years after the start of my photo series. This is a project in which I photographed myself using a Polaroid camera and instant film for 3654 consecutive days, from 24 July 1999 through 24 July 2009. -
Eric Clapton
ERIC CLAPTON BIOGRAFIA Eric Patrick Clapton nasceu em 30/03/1945 em Ripley, Inglaterra. Ganhou a sua primeira guitarra aos 13 anos e se interessou pelo Blues americano de artistas como Robert Johnson e Muddy Waters. Apelidado de Slowhand, é considerado um dos melhores guitarristas do mundo. O reconhecimento de Clapton só começou quando entrou no “Yardbirds”, banda inglesa de grande influência que teve o mérito de reunir três dos maiores guitarristas de todos os tempos em sua formação: Eric Clapton, Jeff Beck e Jimmy Page. Apesar do sucesso que o grupo fazia, Clapton não admitia abandonar o Blues e, em sua opinião, o Yardbirds estava seguindo uma direção muito pop. Sai do grupo em 1965, quando John Mayall o convida a juntar-se à sua banda, os “Blues Breakers”. Gravam o álbum “Blues Breakers with Eric Clapton”, mas o relacionamento com Mayall não era dos melhores e Clapton deixa o grupo pouco tempo depois. Em 1966, forma os “Cream” com o baixista Jack Bruce e o baterista Ginger Baker. Com a gravação de 4 álbuns (“Fresh Cream”, “Disraeli Gears”, “Wheels Of Fire” e “Goodbye”) e muitos shows em terras norte americanas, os Cream atingiram enorme sucesso e Eric Clapton já era tido como um dos melhores guitarristas da história. A banda separa-se no fim de 1968 devido ao distanciamento entre os membros. Neste mesmo ano, Clapton a convite de seu amigo George Harisson, toca na faixa “While My Guitar Gently Weeps” do White Album dos Beatles. Forma os “Blind Faith” em 1969 com Steve Winwood, Ginger Baker e Rick Grech, que durou por pouco tempo, lançando apenas um album. -
Feature • Haunted Cave------West Lafayette and Bloomington
--------------Feature • Karen Lenfestey ------------- Dramatic License Patrick Boylen a personal tragedy, he claims he’s ready to parent the daughter he abandoned five years Deep-thinking local author Karen Len- ago. Joely is more interested in Dalton, a festey writes about ordinary people who devoted father to his own son who offers to deal with extraordinary circumstances. She’s take care of her the way no man ever has. currently based out of Fort Wayne, but over Should Joely risk her daughter bonding with the years Lenfestey has made her home all someone new or with the man who broke her over the state, including Valparaiso, Goshen, heart? Kate and Joely must re-adjust their --------------- Feature • Haunted Cave -------------- West Lafayette and Bloomington. She says vision of what happiness looks like in order she started writing as a child for therapeutic to move on.” purposes. On the Verge, Lenfestey’s third book, is “When my parents would send me to my another story with a horrendously perplex- room (probably for something my brother ing dilemma. Early into their marriage, the did), I would write to entertain my- Eddie’s Got the Munchies self.” Lenfestey’s first book, A Sister’s By Mark Hunter Promise, has sold remarkably well. It’s sequel, What Happiness Looks Like, Think you’re brave? Then take a trip garnered great reviews and was listed through Fort Wayne’s Haunted Cave, a as a “Strong Pick” by Midwest Book place to test your mettle and scream your Review. When a childhood punish- lungs out. It’s okay to scream in the Haunted ment results in a career as a successful Cave.