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MD Tour Press Release
Ubu Projex Press Information dated 2/28/11 [email protected] The Annotated Modern Dance Pere Ubu tours Europe in May 2011 with a special program, "The Annotated Modern Dance." The band will perform its seminal debut album in its entirety along with the Hearpen singles that preceded it. Brief anecdotes will precede the songs. "The Modern Dance" was released in February 1978 and stunned the pop and punk worlds with its vision and audac- ity. It quickly became a fixture in Great / Most Influential Albums Of All Time lists. Jon Savage, Sounds, 2/11/78 Uh-oh, this is getting frustrating, trying to tell you how good this is - black and white is an inadequate substitute for the impact heard... This is a brilliant debut. Granted it lacks the superficial accessibility of lesser works, but this time around the aroma lingers. This is built to last! Ubu's world is rarely comfortable, full of the space beyond the electric light and what it does to people, but always direct and unwavering. And courageous. Ian Birch, Melody Maker, 3/18/78 It's a devastating debut...this album has struck me with a vengeance. Because it delivers such a powerful, complex and open-ended punch, it's almost impossible at such an early stage to explain why or how in full detail. David Stubbs, Uncut, August 2006 - 5 Stars Announced by the siren squeal of Allen Ravenstine's analogue synth which launches "Non- Alignment Pact," The Modern Dance is a product of Cleveland, the living model of punk's post-industrial wasteland. -
Download (112Kb)
Deliciously Crazy By Order Of Mayor Pawlicki, Pere Ubu (2CD, Cherry Red) When I interviews David Thomas, lead singer of Pere Ubu, back the end of the 20th Century, he had this to say about gigs: 'We don't like touring. We like the playing but not the driving. We don't like being in the newspaper. We don't have anything to say that anybody wants to hear. We don't care. I think that sums it up.' Mind you, he also said that he 'always thought [Pere Ubu] were a very traditional rock band. No, we are a very traditional rock band and always have been. It's not our fault that others have abandoned their roots and culture and traditions.' If you've heard the lurching, cacophonous monster that is Pere Ubu making music then you will probably be as sceptical as me. Pere Ubu came screaming out of Cleveland Ohio on the tail of American new wave and punk. Desperate to find new things to write about, the UK music press created scenes were there were none, invented fictional success stories and nonsensical controversies, launching a thousand bands they would later torpedo and sink. Some how, Pere Ubu are still afloat on an ocean of ragged vocals, jagged guitar, squawky synthesizers and offbeat rhythms. The press release uses the phrases 'dedicated brutality' which comes pretty close. I love Pere Ubu. They have never sounded like anyone else, have never bowed to peer or critical pressure, and have ploughed their own way through the music industry from the word go. -
The Blank Generation
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Blank Generation (These are excerpts from my book "A History of Rock and Dance Music") Akron 1976-80 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The "blank generation" came out of a moral vacuum. While punks roamed the suburban landscape, blue-collar workers were feeling the pinch of an economic revolution: human society had left the industrial age and entered the post-industrial age, the age in which services (such as software) prevail over manufacturing. Computers now rule the world, from Wall Street to Boeing. The assembly line took away a bit of the personality of the worker, but that was nothing: the new service- based economy takes away the worker completely, physically. In the post-industrial society the individual is even less of a "person". The individual is merely a cog in a huge organism of interconnected parts that works at the beat of a gigantic network of computers. This highly sophisticated economy treats the individual as a number, as a statistic. The goal is no longer to create a robot that behaves like a human being, but to create a human being that behaves like a robot: robots are efficient and lead to manageable and profitable businesses, whereas humans are inefficient and difficult to manage. -
Those Were Different Times a Memoir of Cleveland Life: 1967-‐1973 By
Those Were Different Times A Memoir Of Cleveland Life: 1967-1973 by Charlotte Pressler This memoir, originally intended as the first of a three-part series, was written in 1978 and first published in CLE Magazine, version 3A; it appeared in PTA (Pittsburgh's Top Alternatives) ©1979. Part II: Getting in Shape (The Life and Death of Cinderella Backstreet, Ratman and Bobbin: The Eels in Columbus , Free Beer Night with Mirrors at the Clockwork Orange , The Buying of the Plaza) and Part III: Extermination Music Night were never written. Special thanks to Jim Ellis and CLE Magazine. Erik Bloomquist, age seven, Plaza child, whose father owns, with Allen R avenstine, the building at 3206 Prospect Avenue, was having trouble with his book report. He had chosen Oscar Wilde's The Happy Prince, far above his grade level, and the big words kept getting him stuck. I told him that the story was originally written for adults, and that one of my teachers had read it to us, but not until we were in the sixth grade. "Well," Erik said, "I could have picked an easier life." This is a story about life in Cleveland from 1968 to 1975, when a small group of people were evolving styles of music that would, much later, come to be called "New Wave." Misleadingly so, because that term suggests the current situation, in which an already evolved, recognized "New Wave" style exists for new bands to aim at. The task of this group was different: to evolve the style itself, while at the same time struggling to find in themselves the authority and confidence to play it. -
Discovering History in Our Lakewood Home by Bob Becker Was Cheap and the Streets Were New
March 7, 2006 The Lakewood Observer Page 1 Free – Take One! Please Patronize Our Advertisers! Lakewood’s Only Newspaper And Finest Website – An Official Google News Source Volume 2, Issue 5, March 7, 2006 Living in Luella’s House Discovering History in Our Lakewood Home By Bob Becker was cheap and the streets were new. If you’ve walked around Lakewood much, An older home is filled with stories. I you’ve probably seen his name. His often wonder about the people who brass horseshoe with the MP Platten lived in our Lakewood house so many brand on it still exists in a half-dozen years ago. If these walls could talk… or so sidewalks that were poured when They can’t, but Luella Platten McNa- Woodrow Wilson was president. mee can. She’s one of the original The Plattens decided on the Water- occupants who moved in when the big bury development between Detroit and oak by our garage was just a twig and Franklin, which was part of the old the mahogany woodwork inside was Nicholson estate (the original Nichol- fresh and gleaming. I sometimes wish I son house, built in 1835, still stands at had a time machine so I could go back Nicholson & Detroit). The site for the and see what our house looked like home was on an “island” defined by when it was new and meet the people two rare curvy Lakewood streets fol- who lived there. Luella has given us a lowing the pattern of the old Nicholson taste of that. Her memories and stories, creek. -
Jews, Punk and the Holocaust: from the Velvet Underground to the Ramones – the Jewish-American Story
Popular Music (2005) Volume 24/1. Copyright © 2005 Cambridge University Press, pp. 79–105 DOI:10.1017/S0261143004000315 Printed in the United Kingdom Jews, punk and the Holocaust: from the Velvet Underground to the Ramones – the Jewish-American story JON STRATTON Abstract Punk is usually thought of as a radical reaction to local circumstances. This article argues that, while this may be the case, punk’s celebration of nihilism should also be understood as an expression of the acknowledgement of the cultural trauma that was, in the late 1970s, becoming known as the Holocaust. This article identifies the disproportionate number of Jews who helped in the development of the American punk phenomenon through the late 1960s and 1970s. However, the effects of the impact of the cultural trauma of the Holocaust were not confined to Jews. The shock that apparently civilised Europeans could engage in genocidal acts against groups of people wholly or partially thought of by most Europeans as European undermined the certainties of post-Enlightenment modernity and contributed fundamentally to the sense of unsettlement of morals and ethics which characterises the experience of postmodernity. Punk marks a critical cultural moment in that transformation. In this article the focus is on punk in the United States. We’re the members of the Master Race We don’t judge you by your face First we check to see what you eat Then we bend down and smell your feet (Adny Shernoff, ‘Master Race Rock’, from The Dictators’ The Dictators Go Girl Crazy! [1975]) It is conventional to distinguish between punk in the United States and punk in England; to suggest, perhaps, that American punk was more nihilistic and English punk more anarchistic. -
The History of Rock Music - the Eighties
The History of Rock Music - The Eighties The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Singer-songwriters of the 1980s (These are excerpts from my book "A History of Rock and Dance Music") Female folksingers 1985-88 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Once the effects of the new wave were fully absorbed, it became apparent that the world of singer-songwriters would never be the same again. A conceptual mood had taken over the scene, and that mood's predecessors were precisely the Bob Dylans, the Neil Youngs, the Leonard Cohens, the Tim Buckleys, the Joni Mitchells, who had not been the most popular stars of the 1970s. Instead, they became the reference point for a new generation of "auteurs". Women, in particular, regained the status of philosophical beings (and not only disco-divas or cute front singers) that they had enjoyed with the works of Carole King and Joni Mitchell. Suzy Gottlieb, better known as Phranc (1), was the (Los Angeles-based) songwriter who started the whole acoustic folk revival with her aptly-titled Folksinger (? 1984/? 1985 - nov 1985), whose protest themes and openly homosexual confessions earned her the nickname of "all-american jewish-lesbian folksinger". She embodied the historic meaning of that movement because she was a punkette (notably in Nervous Gender) before she became a folksinger, and because she continued to identify, more than anyone else, with her post- feminist and AIDS-stricken generation in elegies such as Take Off Your Swastika (1989) and Outta Here (1991). -
Annnounce Fortnightly Podcasts of "Bring Me the Head of Ubi Roi"
r0Alêd9èy.r,^d{iw30€o.Tdôphô Cooking Vinyl E Mâi: .ro@coôkroùiy1.<ffi . lw.co{*jrevtÙia PERE UBU Annnounce fortnightly podcasts of "Bring Me The Head of Ubi Roi" Beginning Tuesday 16th June, and then every two weeks finishing 22"d September, an episode from Pere lJbu's ground-breêking project "Bring Me The Hêad Of Ubu Roi" will be podcast at www.hearDen.com, the band's own audio download web site. The subscription podcast is free. The series of eight podcasts covers the first three ads of the six act radio play that was inspired by the songs on Pere Ubu's forthcoming album "Long Live Père Ubu!" (release date: lYonday 14th September). The idea to record a 'radio play' was conceived as a wây of managing the 'silence' between songs in the concert set for the album so that the spoken word is manipulated and mixed with electronic ambience and transformed into a unique musical style of its own. The script for the radio play, adapted by David Thomas from Alfred Jarry's Ubu Roi (King Ubu), is also Version 2 of a theatrical production âlso called "Bring lYe The Head Of Ubu Roi" that premiered in its original version at the Queen Elizabeth Hall, London, on 25th and 26th April 2008. Êmbedded in the podcasts are songs from "Long Live Père Ubu!, as well as dialogue and electronic ambience. Sârah Jâne Morris (ex Communards, Happy End) performs the role of l\4ère Ubu, partnering Thomas who pêrforms as Père Ubu. Other members of the band supply the voices of other characters. -
Press Release Art & Language Letters to the Jackson Pollock Bar in The
Press Release Art & Language Letters to The Jackson Pollock Bar in the Style of The Red Krayola Featuring Matthew Jesse Jackson John Coxon and J. Spaceman Thursday, October 24, 2019 504 West 24th Street, New York Doors: 6pm Performances: 6.30 – 8.30pm RSVP required: [email protected] Lisson Gallery New York is pleased to present a night of performance, discussion and music inspired by the pioneering work of Art & Language and their 40-year collaboration with The Red Krayola, a punk band founded in Houston, Texas, by Mayo Thompson and Frederick Barthelme in 1966. The evening will also feature a discussion with Art & Language, hosted by art historian Matthew Jesse Jackson, as well as a newly commissioned homage to some of The Red Krayola’s earliest live shows, composed by musicians J. Spaceman (of Spacemen 3 and Spiritualized) and John Coxon (from Spring Heel Jack and the Treader label). After the conceptual art group known as Art & Language was formed in 1968 at Coventry College of Art in the UK, it quickly spread to New York where it centered on two important journals, Art-Language (1969-85) and then later The Fox (1975-76), by which time some 20 artists were connected in various ways with the name. It was around this time that an album entitled Corrected Slogans came out, marking the first collaboration between Art & Language in the UK and The Red Krayola, in which snippets and slogans from conceptual art theory and philosophical tracts were sung or chanted over music composed in response by Thompson’s band. -
Bad 6 4 Alchemy
BAD 64 ALCHEMY 1 BA GOODIES 2009 CHEER-ACCIDENT – FEAR DRAWS MISFORTUNE (CUNEIFORM) CIRCULASIONE TOTALE ORCHESTRA – BANDWIDTH (RUNE GRAMMOFON) FLAT EARTH SOCIETY - CHEER ME, PERVERTS! (CRAMMED DISCS) FRED FRITH – IMPUR II (ReR MEGACORP/FRED RECORDS) LAND OF KUSH – AGAINST THE DAY (CONSTELLATION) METALYCÉE – IT IS NOT (MOSZ) NIOBE – BLACKBIRD’S EYE (TOMLAB) QUINTE & SENS – COPEAUX (MADRECORDZ) GEDHALIA TAZARTES – REPAS FROID (TANZPROCESZ) WHEN – YOU ARE SILENT (JESTER) A musician is: a cartographer, a cook, a scavenger, a diviner, a preacher, an auctioneer, a hoarder, a thief, a diplomat, a dictator, an historian, an oracle, a travel agent, an organizer, a storyteller, a chemist, an alchemist, an epiphanist. Carla Kihlstedt: Confessions of a Sensualist Der WÜRZBURGER HAFENSOMMER lockte am 31.07.2009 allerhand Volk an, das sich im Midlifealltag nicht ungern zurück in Teenagerzeiten versetzen lässt. Was sind schon 40 Jahre? ‚Hendrix in Woodstock‘ war angesagt. Als Zeitmaschine stand das HENDRIX PROJECT auf der schwimmenden Bühne - STUCKY, DO- RAN, STUDER, TACUMA. Allesamt sind das Würzburg-vertraute Gestalten, der Bassist Jamaaladeen Tacuma war erst im März mit Brewed By Noon im Omnibus, wo Christy Doran & Fredy Studer schon vor Jahrzehnten öfters mit - kein Witz - mit OM gespielt hatten, 1972 - 1982 das Schweizer Electricjazzspitzenprodukt; die Stucky trieb das dritte Jahr hintereinander ihr exaltiertes Unwesen auf der Ha- fenbühne. Und: Wo Stucky drauf steht, ist auch Stucky drin. Ist ein größerer Gegensatz zu Jimi denk- bar? Oder ist dieses wie per UFO oder auf einem Besen aus dem Electric Ladyland angeflogene We- sen nicht auch die konsequente Er- füllung seiner Beschwörungen? Hendrix-Fans bekamen jedenfalls Einiges zu schlucken: Ein ‚Voodoo Child‘, das als Droge nur Musik und sich selber braucht - Stucky verkör- pert jeden Ton als hip-shaking Mama im swingenden Fransenkleid. -
Pajisad.Es Free Library PALISADES
lni(§ PaJisad.es Free Library Mot to be taken from this room THE PALISADES NEWSLETTER DECEMBER 2004 NUMBER 187 PALISADES KINDER GAR TNERS +he end nf December is a season filled with festivals •f liaht, when we a need it mast. +his liafit reminds us that the sun will eventually vanquish the cold and darkness nf winter- and our children remind us that jay, curiosity and Growth are the key to everyone's future. CLASS OF 2017 LEFT TO RIGHT: Henry Garrison, Katie Lappin, Rontan Carroll, Dionna Sheer, Shaan Greenberg, Cole Thomas Cappelletti, Kevin Lynch. PHOTOS: GERRY MIRAS A Dark Season That Celebrates Light +he Spirit Is Willing but the Supply Chain is Weak... by Greta Nettleton lions of other workers seated in front of On a damp, grey day their computers are doing all across our in mid-November, metropolitan area in a mind-bending array of 'diverse' jobs and professions. None of us it's not hard to understand the has to go out into the fields in the rain and whack clods of cold black mud with a short- fundamental need handled hoe to dig up turnips for dinner - to celebrate light we eat well, easily, winter and summer. and warmth in December. For better or for worse, petroleum plays the key role in supporting the many comforts utside, the sky seems dark even at provided by our civilization as it is orga• midday and cold rain falls steadily nized right now. (Gas is still as cheap as bot• Othrough the woods. Inside, the tled water — compare the prices next time house is warm, the dog lies sleeping by the you go to a convenience store.) radiator on his little red rug and the radio emits a cheerful parade of Irish fiddle tunes. -
Press Release for Easter Rising Published by Houghton Mifflin
Press Release Easter Rising by Michael Patrick MacDonald • About the Book • About the Author • A Conversation with Michael Patrick MacDonald • Advance Praise for Easter Rising • Praise for All Souls • Easter Rising Play List • 2006 Tour for Michael Patrick MacDonald "MacDonald courageously continues to break Southie's silence in this tale of a journey that is as inspiring as it is haunting." — Publishers Weekly, starred review "MacDonald's gift is that he guides us with vision, insight, humor, and the clear, chiseled word. His is a rare sleight of hand." — Colum McCann, author of This Side of Brightness and Dancer About the Book In his best-selling All Souls: A Family Story from Southie, Michael Patrick MacDonald told the powerful story of a decimated community and family, chronicling the loss of four siblings to the violence, poverty, and gangsterism of Boston's Irish American ghetto. In Easter Rising: An Irish American Coming Up from Under, his long-awaited new memoir, MacDonald tells his own story of escaping from that world, immersing himself in the 1980s punk music scene, and traveling to Ireland twice, roots journeys that inspired him to reclaim his heritage as a source of pride rather than shame. Easter Rising begins with young Michael's first forays outside the soul-crushing walls of Southie's Old Colony housing project. In downtown Boston he discovers the club scene swirling around local bands like Mission of Burma and visiting Brits like the Clash, the Slits, and Johnny Rotten. He eventually winds up in New York's East Village at the height of that neighborhood's annus mirabilis, with bands such as the Bad Brains and the Beastie Boys.