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2015 Year in Review
Ar#st Album Record Label !!! As If Warp 11th Dream Day Beet Atlan5c The 4onthefloor All In Self-Released 7 Seconds New Wind BYO A Place To Bury StranGers Transfixia5on Dead Oceans A.F.I. A Fire Inside EP Adeline A.F.I. A.F.I. Nitro A.F.I. Sing The Sorrow Dreamworks The Acid Liminal Infec5ous Music ACTN My Flesh is Weakness/So God Damn Cold Self-Released Tarmac Adam In Place Onesize Records Ryan Adams 1989 Pax AM Adler & Hearne Second Nature SprinG Hollow Aesop Rock & Homeboy Sandman Lice Stones Throw AL 35510 Presence In Absence BC Alabama Shakes Sound & Colour ATO Alberta Cross Alberta Cross Dine Alone Alex G Beach Music Domino Recording Jim Alfredson's Dirty FinGers A Tribute to Big John Pa^on Big O Algiers Algiers Matador Alison Wonderland Run Astralwerks All Them Witches DyinG Surfer Meets His Maker New West All We Are Self Titled Domino Jackie Allen My Favorite Color Hans Strum Music AM & Shawn Lee Celes5al Electric ESL Music The AmazinG Picture You Par5san American Scarecrows Yesteryear Self Released American Wrestlers American Wrestlers Fat Possum Ancient River Keeper of the Dawn Self-Released Edward David Anderson The Loxley Sessions The Roayl Potato Family Animal Hours Do Over Self-Released Animal Magne5sm Black River Rainbow Self Released Aphex Twin Computer Controlled Acous5c Instruments Part 2 Warp The Aquadolls Stoked On You BurGer Aqueduct Wild KniGhts Wichita RecordinGs Aquilo CallinG Me B3SCI Arca Mutant Mute Architecture In Helsinki Now And 4EVA Casual Workout The Arcs Yours, Dreamily Nonesuch Arise Roots Love & War Self-Released Astrobeard S/T Self-Relesed Atlas Genius Inanimate Objects Warner Bros. -
12 December January 2014 GSG Newsletter
Gecko St udio Gallery Newsletter –December 2014 / January 2015 Our next exhibition is …… David Frazer - Curriculum Vitae born 1966, Foster, Victoria, Australia ☎ +61 3 5472385 0431 162 434 www.dfrazer.com [email protected] David Frazer Qualifications 1998-2000 - Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, Monash University 1996 - Honours Degree, Fine Art (Printmaking), Monash University 1991 - Diploma of Education (Secondary-Art/Craft), Latrobe University 1984-1986 - B.A. Fine Arts (Painting), Phillip Institute of Technology Solo Exhibitions 2013 - “Home Sweet Home” Guanlan Original Print Base, Shenzen, China 2013 - Hillsmith Gallery Adelaide 2012 - “Homesick” James Makin Gallery Melbourne 2012 - Port Jackson Press Print Room, Melbourne 2012 - “Homesick” Beaver Galleries Canberra 2011 - “Half way Home” Falkner Gallery Castlemaine Victoria 2011 - “Last Blossom” Rebecca Hossack Gallery London UK 1 2011 - “Works on paper” Post Office Gallery Ballarat Uni. 2010 - “Broken Home” James Makin Gallery, Melbourne 2010 - La Trobe University Visual Arts Centre, Bendigo, Victoria 2009 - Beaver Galleries, Canberra, ACT 2009 - The Art Vault Mildura VIC 2009 - Falkner gallery Castlemaine Victoria 2008 - “Lost” Dickerson Gallery Sydney 2007 - Adele Boag Gallery, Adelaide 2007 - “Passing through the old world” Dickerson Gallery, Melbourne 2006 - “On the Edge of Town” Dickerson Gallery, Melbourne. 2006 - “Mr Vertigo” ICON gallery, Deakin Museum of Art. Melbourne 2005 - “Somewhere over the hill” Dickerson Gallery Sydney 2005 - “The -
Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world. -
The Albums We're Looking Forward to in 2015
The albums we’re looking forward to in 2015 CHRISTOPHER POLK/GETTY IMAGES Kendrick Lamar. GLOBE STAFF AND CORRESPONDENTS JANUARY 05, 2015 Sneakattack releases might be the new normal for the biggest albums, but here are some major releases already scheduled for the first few months of 2015 — subject to change, naturally. KENDRICK LAMAR Title TBA The Los Angelesbased MC has the daunting task of following up his critically and commercially successful “good kid, m.A.A.d. city,” but if any artist is up to the challenge, it’s Lamar. The mercurial rapper has debuted two songs, the wellreceived, Isley Brothers sampling “i,” and a dazzling, determined untitled track he performed on “The Colbert Report.” Lamar is poised for a banner year; some reports claim his sophomore set could be imminent, possibly with a Beyoncélike stealth launch. (Early 2015) KEN CAPOBIANCO JUSTIN TOWNES EARLE “Absent Fathers” CONTINUE READING BELOW ▼ A bookend to September’s “Single Mothers,” Earle’s latest is the other side of the coin. “Absent Fathers” completes a poignant song cycle about the messy nature of family dynamics. The country singersongwriter knows plenty about the subject matter: His single mother mostly raised him while his father, altcountry renegade Steve Earle, struggled to kick drugs and get his life back on track. (The younger Earle would follow in Dad’s footsteps, too.) “Absent Fathers” was recorded in the same sessions for its predecessor, but Earle felt like he had made two separate albums. (Jan. 13) JAMES REED SLEATERKINNEY “No Cities to Love” Ever since SleaterKinney went quiet in 2006, guitarist Carrie Brownstein’s comedy career has taken off in earnest thanks to “Portlandia.” But anyone counting on “No Cities to Love” to show nine years of accumulated dust hasn’t been paying attention: Brownstein and drummer Janet Weiss blew the doors off in 2011 with Wild Flag, and singer/guitarist Corin Tucker dropped the fiery “Kill My Blues” the next year. -
Media – History
Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. -
Philharmonia Baroque Orchestra Sunday / July 18 / 4:00Pm / Venetian Theater
SUMMER 2 0 2 1 Contents 2 Welcome to Caramoor / Letter from the CEO and Chairman 3 Summer 2021 Calendar 8 Eat, Drink, & Listen! 9 Playing to Caramoor’s Strengths by Kathy Schuman 12 Meet Caramoor’s new CEO, Edward J. Lewis III 14 Introducing in“C”, Trimpin’s new sound art sculpture 17 Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES 20 Highlights from Our Recent Special Events 22 Become a Member 24 Thank You to Our Donors 32 Thank You to Our Volunteers 33 Caramoor Leadership 34 Caramoor Staff Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts General Information 914.232.5035 149 Girdle Ridge Road Box Office 914.232.1252 PO Box 816 caramoor.org Katonah, NY 10536 Program Magazine Staff Caramoor Grounds & Performance Photos Laura Schiller, Publications Editor Gabe Palacio Photography, Katonah, NY Adam Neumann, aanstudio.com, Design gabepalacio.com Tahra Delfin,Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator Caramoor / 1 Dear Friends, It is with great joy and excitement that we welcome you back to Caramoor for our Summer 2021 season. We are so grateful that you have chosen to join us for the return of live concerts as we reopen our Venetian Theater and beautiful grounds to the public. We are thrilled to present a full summer of 35 live in-person performances – seven weeks of the ‘official’ season followed by two post-season concert series. This season we are proud to showcase our commitment to adventurous programming, including two Caramoor-commissioned world premieres, three U.S. -
Rubber Souls: Rock and Roll and the Racial Imagination
Rubber Souls: Rock and Roll and the Racial Imagination The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Hamilton, John C. 2013. Rubber Souls: Rock and Roll and the Racial Imagination. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11125122 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Rubber Souls: Rock and Roll and the Racial Imagination A dissertation presented by Jack Hamilton to The Committee on Higher Degrees in American Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of American Studies Harvard University Cambridge, Massachusetts April 2013 © 2013 Jack Hamilton All rights reserved. Professor Werner Sollors Jack Hamilton Professor Carol J. Oja Rubber Souls: Rock and Roll and the Racial Imagination Abstract This dissertation explores the interplay of popular music and racial thought in the 1960s, and asks how, when, and why rock and roll music “became white.” By Jimi Hendrix’s death in 1970 the idea of a black man playing electric lead guitar was considered literally remarkable in ways it had not been for Chuck Berry only ten years earlier: employing an interdisciplinary combination of archival research, musical analysis, and critical race theory, this project explains how this happened, and in doing so tells two stories simultaneously. -
Many Great Plays Have Been Adapted for the Silver Screen
J e f f e r s o n P e r f o r m i n g A r t s S o c i e t y Presents JEFFERSON PERFORMING ARTS SOCIETY 1118 Clearview Parkway Metairie, Louisiana 70001 Phone: 504 885 2000..Fax: 504 885 [email protected] 1 Table of Contents Teacher notes…………….4 Educational Overview……………………..6 History………………………………..7 – 15 Introduction…………………………..16 – 20 More Background…………………......21 - 49 Lesson Plans 1) “1940 - 1960’s: War Years, Rebuilding the World and a Leisure Boom” pg. 50 - 53 2) “Activities, Projects and Drama Exercises” pgs. 54 - 56 3) “A Hard Day’s Night” pgs. 57 - 64 Standards and Benchmarks: English……………….65 – 67 Standards and Benchmarks: Theatre Arts…………68 - 70 5) “The History of Rock and Roll” pgs. 71 - 73 6) “Bang on a Can: The Science of Music” pg. 74 Standards and Benchmarks: Music………………… 75 - 76 Photo gallery pgs. 77-80 2 Web Resource list …………..81 An early incarnation of the Beatles. Michael Ochs Archives, Venice, Calif. IMAGES RETRIEVED FROM: The Beatles, with George Martin of EMI Records, are presented with a silver disc to mark sales of over a quarter million copies of the 1963 British single release of "Please Please Me." Hulton Getty/Liaison Agency Image Retrieved From: http://search.eb.com/britishinvasion/obrinvs048p1.html http://search.eb.com/britishinvasion/obrinvs045p1.html 3 Teacher notes Welcome to the JPAS production of Yeah, Yeah, Yeah! a concert celebration performed by Pre-Fab 4, Featuring the stars of The Buddy Holly Story. Come together as four lads from across the US rekindle the spirit of yesterday through the music of the world’s most popular band. -
Swans, Marduk, Faux Mo, Zammuto, Li
SWANS, MARDUK, SWANS, MARDUK, FAUX MO, FAUX MO, ZAMMUTO, ZAMMUTO, LI BINYUAN, LI BINYUAN, THE CLEAN, AMIR FARID, THE CLEAN, BEN FROST, TIM HECKER, AMIR FARID, JIM MOGINIE, NEIL GAIMAN, BEN FROST, DAN DEACON, TIM HECKER, AVA MENDOZA, ALVIN CURRAN, JIM MOGINIE, SHONEN KNIFE, XYLOURIS WHITE, NEIL GAIMAN, GENEVIEVE LACEY, DAN DEACON, GABRIELLA SMART, ATTICUS J. BASTOW, AVA MENDOZA, OMAR SOULEYMAN, PHILLIP JOHNSTON, ALVIN CURRAN, ROBYN HITCHCOCK, ARCHITECTS OF AIR, SHONEN KNIFE, SPEAK PERCUSSION, XYLOURIS WHITE, ANNA VON HAUSSWOLFF, SENYAWA + LUCAS ABELA, GENEVIEVE LACEY, MICHAEL KIERAN HARVEY, DEBASHISH BHATTACHARYA, GABRIELLA SMART, JOHANNES S. SISTERMANNS, MOFO SIDESHOW: VIOLENT FEMMES, ATTICUS J. BASTOW, ALLAN HALYK AND ADAM WOJCINSKI, OMAR SOULEYMAN, PAUL KELLY PRESENTS THE MERRI SOUL SESSIONS - FEAT. DAN SULTAN, CLAIRY BROWNE, KIRA PURU & VIKA AND LINDA BULL, YOUNG WAGILAK GROUP & AUSTRALIAN ART ORCHESTRA, 307254_MOO_Mofo__PROGRAM2015_R1.indd 1 11/11/14 10:20 AM AMANDA PALMER & THE TASMANIAN SYMPHONY ORCHESTRA + MORE DAVID WALSH BRIAN RITCHIE WILL HODGMAN VIOLENT FEMMES MONA OWNA CURATOR PREMIER I know it looks pretty smooth We are seven years into this MONA FOMA is an event like no out there. It isn't. Everything MOFO experiment called MOFO and other, staged in a state like no other. seems to run like clockwork. one might think that the fabled A well-oiled machine. Nothing could Seven Year Itch might be setting Tasmania’s natural wilderness, be further from the truth. in. Especially with our fecund rich history, culture, produce and Tensions multiply and stresses divide. reproductive tendency spawning people are unique, and MONA Our festivals have grown up before eleven festivals within that time FOMA is an excellent way to sample we have. -
Semantic Annotation of Music Collections: a Computational Approach
Semantic Annotation of Music Collections: A Computational Approach Mohamed Sordo TESI DOCTORAL UPF / 2011 Directors de la tesi: Dr. Xavier Serra i Casals Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dr. Òscar Celma i Herrada Gracenote, Emeryville, CA, USA Copyright c Mohamed Sordo, 2011. Dissertation submitted to the Department of Information and Communication Technologies of Universitat Pompeu Fabra in partial fulfillment of the require- ments for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA, with the mention of European Doctor. Music Technology Group (http://mtg.upf.edu), Dept. of Information and Communica- tion Technologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www. upf.edu), Barcelona, Spain. A Radia, Idris y Randa. Me siento muy orgulloso de ser vuestro hijo y tu hermano. A toda mi familia. Acknowledgements During these last few years, I had the luck to work with an amazing group of people at the Music Technology Group. First and foremost, I would specially like to thank 3 people regarding this dissertation. Xavier Serra, for giving me the opportunity to join the Music Technology Group, and for his wise advices in key moments of the thesis work. Òscar Celma, for being the perfect co- supervisor a post–graduate student can have. Whether it was for guidance or for publishing, he was always there. Fabien Gouyon, who would have been without any doubt the third supervisor of this thesis. I especially thank him for giving me the opportunity to join his research group in the wonderful city of Porto, as a research stay. -
Parody As a Borrowing Practice in American Music, 1965–2015
Parody as a Borrowing Practice in American Music, 1965–2015 A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by John P. Thomerson BM, State University of New York at Fredonia, 2008 MM, University of Louisville, 2010 Committee Chair: bruce d. mcclung, PhD ABSTRACT Parody is the most commonly used structural borrowing technique in contemporary American vernacular music. This study investigates parody as a borrowing practice, as a type of humor, as an expression of ethnic identity, and as a response to intellectual trends during the final portion of the twentieth century. This interdisciplinary study blends musicology with humor studies, ethnic studies, and intellectual history, touching on issues ranging from reception history to musical meaning and cultural memory. As a structural borrowing technique, parody often creates incongruity—whether lyrical, stylistic, thematic, evocative, aesthetic, or functional—within a recognized musical style. Parodists combine these musical incongruities with other comic techniques and social conventions to create humor. Parodists also rely on pre-existing music to create, reinforce, and police ethnic boundaries, which function within a racialized discourse through which parodists often negotiate ethnic identities along a white-black binary. Despite parody’s ubiquity in vernacular music and notwithstanding the genre’s resonance with several key themes from the age of fracture, cultivated musicians have generally parody. The genre’s structural borrowing technique limited the identities musicians could perform through parodic borrowings. This study suggests several areas of musicological inquiry that could be enriched through engagement with parody, a genre that offers a vast and largely unexplored repertoire indicating how musical, racial, and cultural ideas can circulate in popular discourse. -
WEEK 28: Sunday, 5 July
WEEK 28: Sunday, 5 July - Saturday, 11 July 2020 ALL MARKETS Start Consumer Closed Audio Date Genre Title Episode Title Series Episode TV Guide Text Country of Origin Language Year Repeat Classification Subtitles Time Advice Captions Description 2020-07-05 0500 News - Overseas Korean News Korean News 0 News via satellite from YTN Korea, in Korean, no subtitles. SOUTH KOREA Korean-100 2013 NC 2020-07-05 0530 News - Overseas Indonesian News Indonesian News 0 News via satellite from TVRI Jakarta, in Indonesian, no subtitles. INDONESIA Indonesian-100 2013 NC 2020-07-05 0610 News - Overseas Hong Kong News Hong Kong News 0 News via satellite from TVB Hong Kong, in Cantonese, no subtitles. HONG KONG Cantonese-100 2013 NC 2020-07-05 0630 News - Overseas Chinese News Chinese News 0 News via satellite from CCTV Beijing, in Mandarin, no subtitles. CHINA Mandarin-100 2013 NC 2020-07-05 0700 News - Overseas Russian News Russian News 0 News via satellite from NTV Moscow, in Russian, no subtitles. RUSSIA Russian-100 2013 NC 2020-07-05 0730 News - Overseas Polish News Polish News 0 Wydarzenia from Polsat in Warsaw via satellite, in Polish, no subtitles. POLAND Polish-100 2013 NC News from Public Broadcasting Services Limited, Malta, in Maltese, no 2020-07-05 0800 News - Overseas Maltese News Maltese News 0 MALTA Maltese-100 2013 NC subtitles. News via satellite from public broadcaster MRT in Skopje, in 2020-07-05 0830 News - Overseas Macedonian News Macedonian News 0 MACEDONIA Macedonian-100 2013 NC Macedonian, no subtitles. 2020-07-05 0900 News - Overseas Croatian News Croatian News 0 News via satellite from HRT Croatia, in Croatian, no subtitles.