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'Judas Priest-On Tour' Violators Attacked
MARCH 18, 1978 VOL. 1, NO. 1 Benefiting FREE San Antonio For Your Austin• Houston Entertainment ~ 'Judas Priest-On Tour' JC 35296 The high priest of heavy rock 'n' roll with their inimitable style grace our shores once again. To change or not to change. That is what a rock and roll band must deal with. A group may develop a success ful formula for its music, which leads to personal and/ or commercial contentment. Musicians, upon reach ing this point, find their music evolving in a new direction or continuing their successful format. Judas Priest has choosen the security of proven success. Their first two ViolatorsAttacked domestic albums were well See story on page 10 received in this area. With the release of a new album "Stained Class" and • Elvis Costello an upcoming concert March INSIDETHIS • Radio Survey 24 their claim to fame is • Trivia Quiz sound. ISSUE! .-HELLO IT'SUS- / Welcome to It's Onlu Rock and , Muhammad Ali, chicken fried steak, Roll. What are you being welcomed cars with dead batteries, Rocky Hor to anyway? ror Picture Show and working over It's Only Rock and Roll is a time to afford concert tickets and newspaper/magazine of sorts put out vinyl habits. by a few people who know and love Sound comp'iicated, si1ly, insane, music and believe it's time for a unclear? It is all that and more. semi-intelligent, semi-informed rag Best of all it's fun and we' 11 attanpt about music on the local scene. to write about it: show pictures of Because no one is adequately it and make a meager living from it filling the music news and informa as long as it stays complicated, tion void in San Antonio, we decided silly, insane, unclear and fun. -
Smash Hits Volume 34
\ ^^9^^ 30p FORTNlGHTiy March 20-Aprii 2 1980 Words t0^ TOPr includi Ator-* Hap House €oir Underground to GAR! SKias in coioui GfiRR/£V£f/ mjlt< H/Kim TEEIM THAT TU/W imv UGCfMONSTERS/ J /f yO(/ WOULD LIKE A FREE COLOUR POSTER COPY OF THIS ADVERTISEMENT, FILL IN THE COUPON AND RETURN IT TO: HULK POSTER, PO BOXt, SUDBURY, SUFFOLK C010 6SL. I AGE (PLEASE TICK THE APPROPRIATE SOX) UNDER 13[JI3-f7\JlS AND OVER U OFFER CLOSES ON APRIL 30TH 1980 ALLOW 28 DAYS FOR DELIVERY (swcKCAmisMASi) I I I iNAME ADDRESS.. SHt ' -*^' L.-**^ ¥• Mar 20-April 2 1980 Vol 2 No. 6 ECHO BEACH Martha Muffins 4 First of all, a big hi to all new &The readers of Smash Hits, and ANOTHER NAIL IN MY HEART welcome to the magazine that Squeeze 4 brings your vinyl alive! A warm welcome back too to all our much GOING UNDERGROUND loved regular readers. In addition The Jam 5 to all your usual news, features and chart songwords, we've got ATOMIC some extras for you — your free Blondie 6 record, a mini-P/ as crossword prize — as well as an extra song HELLO I AM YOUR HEART and revamping our Bette Bright 13 reviews/opinion section. We've also got a brand new regular ROSIE feature starting this issue — Joan Armatrading 13 regular coverage of the independent label scene (on page Managing Editor KOOL IN THE KAFTAN Nick Logan 26) plus the results of the Smash B. A. Robertson 16 Hits Readers Poll which are on Editor pages 1 4 and 1 5. -
The Twenty Greatest Music Concerts I've Ever Seen
THE TWENTY GREATEST MUSIC CONCERTS I'VE EVER SEEN Whew, I'm done. Let me remind everyone how this worked. I would go through my Ipod in that weird Ipod alphabetical order and when I would come upon an artist that I have seen live, I would replay that concert in my head. (BTW, since this segment started I no longer even have an ipod. All my music is on my laptop and phone now.) The number you see at the end of the concert description is the number of times I have seen that artist live. If it was multiple times, I would do my best to describe the one concert that I considered to be their best. If no number appears, it means I only saw that artist once. Mind you, I have seen many artists live that I do not have a song by on my Ipod. That artist is not represented here. So although the final number of concerts I have seen came to 828 concerts (wow, 828!), the number is actually higher. And there are "bar" bands and artists (like LeCompt and Sam Butera, for example) where I have seen them perform hundreds of sets, but I counted those as "one," although I have seen Lecompt in "concert" also. Any show you see with the four stars (****) means they came damn close to being one of the Top Twenty, but they fell just short. So here's the Twenty. Enjoy and thanks so much for all of your input. And don't sue me if I have a date wrong here and there. -
T He O Bserver
The O bserver VOL. XXIII NO. 102 W EDNESDAY , FEBRUARY 27, 1991 THE INDEPENDENT NEWSPAPER SERVING NOTRE DAME AND SAINT MARY’S Gulf War Roundup Tuesday, Feb 26 U.S. plans to rebuild Kuwait President Saddam Hussein told his war-wrecked nation in an address today on Baghdad radio that, “Today we will complete the withdrawal of our forces, God willing." Allies reported seeing ‘Essential services’ will be restored initially some signs that the Iraqis were withdrawing. it would take about two weeks USSR WASHINGTON (AP) — U.S. to restore “essential services," rURKEY military officials intend to play and about three months for a long-term role in restoring “minimal services" to be put in SYR A order to war-torn Kuwait, place. The reconstruction phase LEBANON helping the government in was open-ended. Baghdad © health care, public safety and “Throughout all phases of the ISRAEL IRAQ other areas, a document of recovery period, and into the JORDAN Persian G u lf contingency plans says. reconstruction phase, addi SAUDI ARABIA Military planners and Kuwaiti tional (U.S.) support w ill be officials drew up the contin OPERATION provided to the established se Kuwait City gency plans in the months be curity force," the paper said. Ground War fore U.S. military forces moved DESERT STORM Although the government of Continues Scud into Kuwait, which has been provided a copy to The Associ Kuwait will be in charge of the ■ More than casualties occupied by Iraqi troops since ated Press. Arm y officials here area once Kuwait is declared 100,000 U.S. -
Performance and Interaction: Judson Dance Theater
Performance and Interaction: Judson Dance Theater In 1980, Arlene Croce, a respected dance critic, said in a column in the New Yorker that Robert Wilson had been the main influence, after Merce Cunningham, on the choreography of the day. Yvonne Rainer responded angrily to what she saw as lack of perspective and knowledge of modern dance in a letter published in the performance magazine Live. The letter included a genealogy chart of contemporary dance and how it related to the visual arts world, which is shown here. Simone Forti was at the Judson Dance Theater with Brown and Rainer and also made an argument for dance as sculpture with her first minimalist works. Their objec- tives included the idea of actually involving the spectator’s gaze, rejecting the concept of audience as voyeur. Bibliography Krauss, Rosalind E. Passages in Modern Sculpture. Cambridge (Mass.): MIT, 1977. Lambert, Carrie. “More or Less Minimalism: Six Notes on Performance and Visual Art in the 60s” en: Goldstein, Ann. The close, simultaneous connections between dance and the visual arts in the 1960s A Minimal Future? Art as Object and 70s can be seen both in the works of Yvonne Rainer (1934), Trisha Brown (1936) 1958-1968. Los Angeles: Museum and Simone Forti (1935), which are exhibited in the room, and in the theoretical analyses of Contemporary Art; Cambridge: presented by Barbara Rose and Rosalind Krauss about the theatrical tone of sculpture MIT Press, cop., 2004. and minimal painting. Trio A, Rainer’s choreography created in 1966 as the first part of her tetralogy The Mind Rainer, Yvonne. -
Wookey Current CV
SARA HASTINGS WOOKEY [email protected] www.sarawookey.com CURRICULUM VITAE EDUCATION Master of Fine Arts, Dance University of California, Los Angeles 2008 Bachelor of Fine Arts, Dance Presidential Honors, The Ohio State University 1996 CHOREOGRAPHY & PERFORMANCE Disappearing Acts & Resurfacing Subjects: Concerns of (a) Dance Artist(s) 2013 Premiere: New Museum, NYC Trio A: Revisited and Reversed 2013 Premiere: Hammer Museum, Los Angeles Collaboration with dancer & choreographer Yvonne Rainer Trio A: Unplugged Premiere: Performance Space, Sydney 2013 Transmitting Trio A Premiere: VIVA! Performance Art Festival, Montreal 2011 Performing Navigations: (Re)Mapping the Museum 2010 Premiere: Hammer Museum, Los Angeles Walking L.A / (Sur)facing the City 2008 Premiere: Museum of Contemporary Art, San Diego Love’s Geography: Revisited 2006 Premiere: Stadschouwburg Theater, Brugges FACE 2003 Premiere: Frascati Theater, Amsterdam Surface 2002 Premiere: Theater aan het Spui, The Hague Fields on the 4th Floor 2001 Premiere: Kunstcentrum Vooruit, Gent The Skirt 2000 Premiere: Korzo Theater, The Hague Manner 2000 Premiere: Künstlerhaus gallery, Bremen Marion’s Hips 1998 Premiere: Korzo Theater, The Hague MUSEUM & GALLERY BASED PROJECTS Station to Station Dancer with Siobhan Davies Dance 2015 Barbican Center, London reDANCE Founder & Organizer 2011-Present Curated program of four dance solos by Judson Dance Era choreographers (Childs, Forti, Hay and Rainer) danced by another generation of dancers Yvonne Rainer: Dance Works Dancer 2014 Raven Row Gallery, -
Simone Forti Goes to the Zoo*
Simone Forti with a lion cub at the Giardino Zoologico di Roma, 1968. Courtesy Simone Forti and The Box, LA. Simone Forti Goes to the Zoo* JULIA BRYAN-WILSON In the photograph, a young woman in a short skirt and sandals sits on a bench. With her crooked elbow, she braces her handbag to her body, tucking her large sketchpad into her armpit. She is petting a lion cub, and as she gazes down to witness the small but extraordinary fact of her hand on its fur, the ani- mal’s face turns towards the camera lens with closed eyes. This is dancer and choreographer Simone Forti on one of her many visits to the zoo during the brief time she lived in Rome in the late 1960s. Far from today’s “wildlife sanctu- aries” where animals can ostensibly wander freely, as the photo of this uncaged cub might suggest, the Giardino Zoologico di Roma offered a highly controlled environment in which animals lived within tight enclosures; Forti was here indulging in a staged, paid encounter, one that she characterized as “irre- sistible.”1 Irresistible because she was consistently moved by the creatures she drew and studied—moved as in stirred, or touched, as well as in shifted, or altered. As I argue, her dance practice changed dramatically as a result of the time she spent in Rome observing animal motions and interacting with other, animate forms of art. Petting a lion cub: irresistible, but still melancholy. Designed in part by German collector and merchant Carl Hagenbeck and built in 1911, the Roman zoo is an example of the turn-of-the-century “Hagenbeck revolution” in zoo architecture, which attempted to provide more naturalistic-appearing, open-air surroundings that were landscaped with artificial rocks and featured moats instead of bars, often creating tableaux of animals from different taxonomic * This article was made possible by the indefatigable Simone Forti, who talked with me, danced for me, and pulled all manner of documents and photographs out of her dresser drawers for me; thank you, Simone. -
The Donation Dedicated to Jerry and Karen's Parents Various The
The Donation Dedicated To Jerry and Karen's Parents Various The Golden Greats CPS 291 Columbia VG/ Easy Special VG+ Listening Products Andy Williams The Great Songs LE Columbia F+/ Easy From My Fair 10097 G- Listening Lady Andy Williams Moon River And CS 8609 Columbia F+/ ft. The Williams Easy G- Brothers, Claudine Listening Other Great Movie Williams And The Themes Entire Williams Family Andy Williams The Wonderful CS 8937 Columbia VG-/ Easy World Of VG Listening Andy Williams Solitaire KC Columbia VG/ Easy 32383 VG+ Listening Barry Manilow Greatest Hits A2L Arista VG/ Double Easy 8601 VG+ Album/ Listening Gatefold Barry Manilow This One's For You AL 4090 Arista VG/ Easy VG+ Listening Barry Manilow Even Now AB 4164 Arista VG/ Easy VG+ Listening Robert Goulet Always You CS 8476 Columbia VG/ music by De Vo Easy VG+ Listening Robert Goulet Sincerely Yours... CL 1931 Columbia VG/ Easy VG+ Listening Robert Goulet In Person CL 2088 Columbia VG/ recorded live in Easy VG+ concert Listening Englebert Live At The XPAS Parrot VG/ Gatefold Easy Humperdinck Riviera Hotel Las 71051 (London) VG+ Listening Vegas Englebert The Last Waltz PAS- Parrot VG Easy Humperdinck 71015 (London) Listening Eddie Fisher When I Was Young DLP DOT G-/G Easy 3648 Listening Eddie Fisher Games That Lovers LPS RCA Victor VG/ Arr. & Cond. By Easy Play 3726 VG+ Nelson Riddle Listening Mantovani And ...Memories PS 542 London VG Easy His Orchestra Listening Bobby Vinton Ballads Of Love H-1029 Heartland G+/ Easy VG- Listening 1 The Donation Dedicated To Jerry and Karen's Parents Kate Smith The Fabulous CAS- RCA VG/ Easy 2439 (Camden) VG+ Listening Johnny Mathis More Johnny's CL 1344 Columbia VG/ Easy Greatest Hits VG+ Listening Jane Olivor The Best Side Of JC Columbia G+/ Easy Goodbye 36335 VG- Listening Don Ho 30 Hawaiian SMI-1- Suffolk G+/ Easy Favorites 17G Marketing VG- Listening Inc. -
Brochure, Yvonne Rainer.Pdf
Yvonne Rainer Dia:Beacon Riggio Galleries 3 Beekman Street Beacon New York 12508 845 440 0100 www.diaart.org Dia Art Foundation presents Yvonne Rainer Program 1 'I! Saturday, October 22, and Sunday, October 23, 2011 1 pm and 3 pm Program 2 Saturday, February 25, and Sunday, February 26 , 201 2 12 pm and 2 pm Program 3 Saturday, May 12, 2012 1 pm and 3 pm related program Artists on Artists Lecture Series at Dia:Chelsea Babette Mangolte on Yvonne Rainer Monday, May 14, 2012, 6:30 pm Dia:Chelsea 535 West 22nd Street 5th Floor New York City Yvonne Rainer OBJECTS DANCES Central to Yvonne Rainer's renowned choreographic practice is an undeniable, 7 wistful rebellion. Immediately upon her emergence as a choreographer in the eliminate or minimize early 1960s, Rainer distinguished herself by actively challenging the expressive 1. role of the artist's hand phrasing J movement conventions and narrative structure popularized by the modern-dance establishment. Inspired by her interest in the everyday, Rainer pioneered an 2. hierarchical relationship of parts development and climax autonomous dance language-rooted in considering the body as material object 3. texture variation: rhythm, shape, dynamics that emphasized the nuances of task-oriented movement and brought attention 4. figure reference character to the physicality of the body. 5. illusionism performance After training for several years at the Martha Graham Dance School in New 6. complexity and detail variety: phrases and the spatial field York in the late 1950s, Rainer attended what would become an historic summer 7. monumentality the virtuosic movement feat and the workshop in San Francisco in 1960 guided by the improvisatory teachings of fully-extended body choreographer Anna Halprin and composer La Monte Young. -
Judson Dance Theater: the Work Is Never Done
Judson Dance Theater: The Work Is Never Done Yvonne Rainer, Simone Forti, and Steve Paxton reflect on Robert Ellis Dunn and Judith Dunn’s composition class YVONNE RAINER: My name is Yvonne Rainer. SIMONE FORTI: I’m Simone Forti. STEVE PAXTON: My name is Steve Paxton. I’m a dancer. RAINER: Choreographer. FORTI: Artist. RAINER: Writer. Filmmaker. FORTI: I’ve mainly worked with movement. PAXTON: I came from Arizona with my banjo on my knee about 1958. RAINER: I felt I’d come into dance pretty late, so I was in a hurry in 1960. I mean, absorbing everything, and that included ballet. It included Cunningham, it included Waring and Cage. PAXTON: The modern dance world was not homogeneous. I mean, it wasn’t all just one big thing. There were a lot of different aesthetics and dance approaches in it. FORTI: When Bob Dunn offered his composition class, it was like something solid to work with. RAINER: I enrolled in Robert Dunn’s composition class in the fall of 1960. At that point there were only five of us. And Bob rolled out these scores for John Cage’s Fontana Mix and started talking about ways that score might be adapted for choreographic purposes. FORTI: I remember the scores themselves, transferring into movement rather than sound. RAINER: I was looking for some other way to look at things. I mean, painters were defying all the rules already and Cage came along and introduced a whole new vocabulary of sounds and movements. PAXTON: Chance methods meant that instead of trying to imagine a new way to do something, you just set out using dice, coins to decide what part of the body to use or entrances and exits and length durations. -
Letters from Yvonne Rainer, Meredith Monk, Kenneth King
Letters from Yvonne Rainer, Meredith Monk, Kenneth King In her New Yorker column of June 30 temporary American dance, perform- dance critic Arlene Croce claimed that ance art and theatre - and critics who R.E.: Robert Wilson "as a writer and director have a historical grasp of the overlapping of esoteric visionary plays and as a performance and art worlds - has con- teacher of movement has been the biggest tributed to the confusion in the perform- influence, after Cunningham, on chore- ance world. Critics and audiences alike ographers working today." Croce disre- have trouble deciding who's influencing CROCE garded the early work of Yvonne Rainer, who these days. Some of those artists Kenneth King, Meredith Monk, Lucinda angry enough to respond to Croce in Childs. and the Judson Dance Theatre. print have forwarded their letters to LIVE for publication. The absence of accurate histories of con- The Editors Dear Arlene: other than a sequence of one-man/woman epiphanies. Things are May I add my two-cents plain to the brouhaha accruing from your always more complicated than that. True, Cunningham/Cage were article of June 30? Insofar as Kenneth King has done so admirable doing their thing 30 years ago. But why was their influence a job (and one with which I largely concur) on the Monk-King-- in the dance world not felt in any visible degree until 1960? Clear- Dean-Wilson-Glass connections, let me confine my remarks to my ly it required a convergence of a number of people from different own peers. For this purpose I am enclosing a crudely drawn-and areas of art-making to manifest the ideas that in the intervening vastly oversimplified-genealogy chart which adds several 10 years had lain fallow. -
Performance Art and the American Post-Modern Dance of the Judson Dance Theater
Performance Art and the American Post-Modern Dance of the Judson Dance Theater MICHELLE MOURA RELÂCHE – CASA HOFFMANN e-MAGAZINE | 2004 1 Performance Art and the American and their lives. The Fluxus movement,1 for instance, Post-Modern Dance of the Judson Dance Theater emphasized the motto ‘life above art’: “they wanted to suppress the idea that art has special qualities. Art should Michelle Moura match life, and life should match art, for the most fas- cinating and interesting things are into life” (SMITH, 1991, p.55). Some North American choreographers at that time were also dealing with the same question: how to bring art closer to their lives. At ‘Perform: a workshop on body and action’, by André Lepecki and Eleonora Fabião, performance art was ex- Based on this concept of bringing art and daily life to- perienced as a present happening, the here and now, by gether, I made use of the introduction of Eleonora and touching the limits between art and real life. André’s workshop about performance and live art as a hint. So, I decided to write about the Judson Dance “This is not the place for rehearsals or classes. This is a Theater, an important group of artists from the 1960s place for experiments and performance.” This statement which was responsible for the creation of the so-called was repeated several times by Eleonora and André, and American post-modern dance, by bringing about new was the propeller of a series of experimentation tasks, in and revolutionary notions on choreographic structures which there was definitely no space for elaborating or re- and postures.