2018 Fall and Winter CONTENTS

Total Page:16

File Type:pdf, Size:1020Kb

2018 Fall and Winter CONTENTS 2018 Fall and Winter CONTENTS GENERAL INTEREST AMERICAN STUDIES GAY/LESBIAN/QUEER/BI/ See It Feelingly Savarese 1 Violence Work Seigel 29 TRANS STUDIES Little Man, Little Man Mobile Subjects Aizura 42 Baldwin and Cazac 2 INDIGENOUS AND NATIVE STUDIES Going Stealth Beauchamp 42 Essential Essays Hall 4 Paradoxes of Hawaiian Sovereignty Trans Exploits Chen 43 The Blue Clerk Brand 5 Kauanui 29 Trans*historicities DeVun and Tortorici 43 Comfort Measures Only Campo 6 Unsustainable Empire Saranillio 30 The Queer Commons Gunslinger Dorn 7 Butt and Millner-Larsen 44 Written in Stone Levinson 7 AFRICAN STUDIES Queer about Comics Scott and Fawaz 44 My Butch Career Newton 8 The Fetish Revisited Matory 30 Female Masculinity Halberstam 9 Fugitive Modernities Krug 31 FILM/TV Exile within Exiles Green 9 Making Sex Public, and Other RELIGION The Brazil Reader Green, Langland, Cinematic Fantasies Young 45 An Intimate Rebuke Grillo 31 and Moritz Schwarcz 10 The Apartment Complex Wojcik 45 Passages and Afterworlds Plan Colombia Lindsay-Poland 11 Forde and Hume 32 Is It Still Good to Ya? Christgau 12 LATIN AMERICAN STUDIES Laughing at the Devil Hall 13 Channeling the State Schiller 46 SOUTH ASIAN STUDIES Vexy Thing Perry 14 1968 Mexico Draper 46 Indian Migration and Empire Mongia 32 Jezebel Unhinged Lomax 15 Seeking Rights from the Left Friedman 47 Latinx Lives in Hemsipheric Context Empowered Banet-Weiser 15 ANTHROPOLOGY Windell and Alemán 47 Straight A’s Yano and Akatsuka 16 A World of Many Worlds Racial Melancholia, Racial Dissociation de la Cadena and Blaser 33 LEGAL STUDIES Eng and Han 16 After Ethnos Rees 33 Torts Beskind and Coleman 48 Worldmaking Kondo 17 Anthropology in the Meantime Fischer 34 Across Oceans of Law Mawani 48 Unruly Visions Gopinath 17 The Promise of Infrastructure Counterproductive Gregg 18 Anand, Gupta, and Appel 34 HISTORY Fabricating Transnational Capitalism Migrants and City Making A Primer for Teaching Women, Gender, Rofel and Yanagisako 19 Çağlar and Glick Schiller 35 and Sexuality in World History The End of the Cognitive Empire Santos 20 Best Practice Chong 35 Wiesner-Hanks and Willoughby 49 Can Politics Be Thought? Badiou 20 Garbage Citizenship Fredericks 36 Photography and Work Desire Work Hackman 36 Coleman, James, and Sharma 49 ART Bodies as Evidence Maguire, How Art Can Be Thought deSouza 21 Rao, and Zurawski 37 ASIAN STUDIES Eros Ideologies Pérez 22 Ethnographies of U.S. Empire After the Post–Cold War Dai 50 Pop América, 1965–1975 Gabara 23 McGranahan and Collins 37 Taiwan Dirlik, Chuang, and Liao 50 Mapping Modernisms Decolonizing Extinction Parreñas 38 Harney and Phillips 24 Domestication Gone Wild LITERARY CRITICISM Art and Theory of Post-1989 Swanson, Lien, and Ween 38 The Novel and Neoliberalism Central and Eastern Europe Constructing the Pluriverse Reiter 39 Armstrong and Marx 51 Janevski and Marcoci 24 Between Form and Content CULTURAL STUDIES JOURNALS 51 Caro and Arnal 25 Respawn Milburn 39 Experimental Practice Papadopoulos 40 SELECTED BACKLIST AFRICAN AMERICAN STUDIES Marxism, Colonialism, and Cricket AND BESTSELLERS 54 None Like Us Best 25 Featherstone, Gair, Technicolored duCille 26 SALES INFORMATION Høgsbjerg, and Smith 40 Black Marriage duCille 26 AND INDEX Inside Back Cover The Authoritarian Personality Marasco 41 Double Negative Gates 27 Infrahumanisms Glick 41 SOUND STUDIES The Race of Sound Eidsheim 27 Sound Objects Steintrager and Chow 28 Digital Sound Studies Lingold, Mueller, and Trettien 28 dukeupress.edu Facebook “f” Logo CMYK / .eps Facebook “f” Logo CMYK / .eps FRONT COVER ART Dawoud Bey, Stuart Hall portrait. © Dawoud Bey. From Essential Essays by Stuart Hall, page 4. GENERAL INTEREST See It Feelingly Classic Novels, Autistic Readers, and the Schooling of a No-Good English Professor RALPH JAMES SAVARESE Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating in concert with peaked flukes. • Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating in concert with peaked flukes. • Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating in concert with peaked flukes.• Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the“We east, each have Skype accounts and Ralph James Savarese is the author all heading towards the sun, and for a moment vibrating in concert with peaked flukes. • Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating in concert with peaked flukes. • Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun,use them to discuss [Moby-Dick] of Reasonable People: A Memoir of and for a moment vibrating in concert with peaked flukes. • Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating in concert with peaked flukes. • Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating in Autism and Adoption and coeditor of concert with peaked flukes.• Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east,face to face. Once a week, we spread all heading towards the sun, and for a moment vibrating in concert with peaked flukes. • Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating in concert with peaked flukes. • three collections, including one on Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun,the worded whale out in front of us; and for a moment vibrating in concert with peaked flukes. • Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating in concert with peaked flukes. • Standing at the mast-head of my the concept of neurodiversity. He has ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating wein dissect its head, eyes, and bones, concert with peaked flukes.• Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating in concert with peaked flukes. • Standing at the mast-head of my ship during a sunrise that published widely in academic and cre- crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating in concert with peaked flukes.careful • not to hurt or kill it. The Pro- Standing at the mast-head of my ship during· a sunriseRALPH that crimsoned JAMES sky and sea, ISAVARESE once saw a large herd of whales· in the east, all heading towards the sun, ative writing journals. In 2012–2013 he and for a moment vibrating in concert with peaked flukes. • Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating in concert with peaked flukes. • Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating fessorin and I are not whale hunters. was a neurohumanities fellow at Duke concert with peaked flukes.• Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibratingSEE in concert with peaked I flukes.T • Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating in concert with peaked flukes.We • are not letting the whale die. We University’s Institute for Brain Sciences. He teaches at Grinnell Standing at the mast-head of my ship during a sunrise that crimsoned sky and sea, I once saw a large herd of whales in the east, all heading towards the sun, and for a moment vibrating in concert with peaked flukes.
Recommended publications
  • Vivid Sydney Media Coverage 1 April-24 May
    Vivid Sydney media coverage 1 April-24 May 24/05/2009 Festival sets the city aglow Clip Ref: 00051767088 Sunday Telegraph, 24/05/09, General News, Page 2 391 words By: None Type: News Item Photo: Yes A SPECTACLE of light, sound and creativity is about to showcase Sydney to the world. Vivid Sydney, developed by Events NSW and City of Sydney Council, starts on Tuesday when the city comes alive with the biggest international music and light extravaganza in the southern hemisphere. Keywords: Brian(1), Circular Quay(1), creative(3), Eno(2), festival(3), Fire Water(1), House(4), Light Walk(3), Luminous(2), Observatory Hill(1), Opera(4), Smart Light(1), Sydney(15), Vivid(6), vividsydney(1) Looking on the bright side Clip Ref: 00051771227 Sunday Herald Sun, 24/05/09, Escape, Page 31 419 words By: Nicky Park Type: Feature Photo: Yes As I sip on a sparkling Lindauer Bitt from New Zealand, my eyes are drawn to her cleavage. I m up on the 32nd floor of the Intercontinental in Sydney enjoying the harbour views, dominated by the sails of the Opera House. Keywords: 77 Million Paintings(1), Brian(1), Eno(5), Festival(8), House(5), Opera(5), Smart Light(1), sydney(10), Vivid(6), vividsydney(1) Glow with the flow Clip Ref: 00051766352 Sun Herald, 24/05/09, S-Diary, Page 11 54 words By: None Type: News Item Photo: Yes How many festivals does it take to change a coloured light bulb? On Tuesday night Brian Eno turns on the pretty lights for the three-week Vivic Festival.
    [Show full text]
  • Originally Adaptated from French and Flemish Chansons, the Canzon Is a Type of Instrumental Music That Was Popularized in the 16Th and 17Th Centuries
    Originally adaptated from French and Flemish chansons, the canzon is a type of instrumental music that was popularized in the 16th and 17th centuries. Most often characterized with the opening dactylic rhythm (long, short, short), the canzon da sonar (chanson to be played) became independent of earlier vocal models in the 1570s, and by 1600 had become the most important form of instrumental music in Italy. Ensemble canzoni were composed by all sorts of musicians—from the master composer/organist Giovanni Gabrieli with his multi- choired works for the ceremonies at San Marco in Venice, to lesser-known Northern European composers like Erasmus Widmann, who spent most of his career working as court musician in the region of Germany near Nuremberg. Widmann’s canzoni, included in his Gantz Neue Cantzon, Intraden, Balletten und Couranten (Nuremberg, 1618) were considered his finest instrumental works. Strikingly similar to the Venetian canzoni of earlier decades, these canzoni were described by composer Michael Praetorius—the greatest musical academic of the day—as “fresh, joyful, and fast.” While most of the Venetian canzoni of the period are written in four parts, Widmann composed his instrumental music in five parts much like the music of his contemporaries Brade and Simpson. This scoring, with two equal soprano parts, makes Widmann’s canzoni particularly well suited to adaptation by the modern brass quintet. Charles Whittenberg's Little Fantasy on Bach's Advent-Chorale: “Nun komm, der heiden Heiland” (Cantata #62) had its premiere performance at Philharmonic Hall, Lincoln Center on December 31, 1968. After a statement of the Chorale theme, Whittenberg develops the material in a brilliant fashion.
    [Show full text]
  • The Phillips Collection Exhibition History, 1999–2021
    Exhibition History, 1999–2021 Exhibition History, 1999–2021 THE PHILLIPS COLLECTION EXHIBITION HISTORY, 1999–2021 The Phillips Collection presented the following exhibitions for which it served as either an organizer or a presenting venue. * Indicates a corresponding catalogue 23, 2000. Organizing institution: The TPC.2000.6* 12, 2002. Organizing institution: 1999 Phillips Collection. William Scharf: Paintings, 1984–2000. Smith College Museum of Art, November 18, 2000–July 2, 2001. Northampton, MA. TPC.1999.1 Organizing institution: The Phillips Photographs from the Collection of 2000 Collection. Traveled to The Frederick TPC.2002.2 Dr. and Mrs. Joseph D. Lichtenberg. R. Weisman Museum of Art, Malibu, John Walker. February 16–August 4, January 12–April 25, 1999. Organizing TPC.2000.1* CA, October 20–December 15, 2001. 2002. Organizing institution: The institution: The Phillips Collection. Honoré Daumier. February 19–May Phillips Collection. 14, 2000. Organizing institutions: TPC.1999.2 The Phillips Collection, The National 2001 TPC.2002.3 An Adventurous Spirit: Calder at The Gallery of Canada, and Réunion des Howard Hodgkin. May 18–July 18, 2002. Phillips Collection. January 23–June Musées Nationaux, Paris. Traveled to 2 TPC.2001.1* Organizing institution: The Phillips 8, 1999. Organizing institutions: The additional venues. Wayne Thiebaud: A Paintings Collection. Phillips Collection and The Calder Retrospective. February 10–April 29, TPC.2000.2* Foundation. 2001. Organizing institution: Fine TPC.2002.4* An Irish Vision: Works by Tony O’Malley. Arts Museums of San Francisco, CA. Edward Weston: Photography and TPC.1999.3 April 8–July 9, 2000. Organizing Traveled to 3 additional venues. Modernism. June 1–August 18, 2002.
    [Show full text]
  • Young Americans to Emotional Rescue: Selected Meetings
    YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music.
    [Show full text]
  • Acknowl Edgments
    Acknowl edgments This book has benefited enormously from the support of numerous friends, colleagues, and institutions. We thank the Wenner-Gr en Foundation and the National Science Foundation for the generous grants that made this research pos si ble. We are also grateful to our respective in- stitutions, the University of California, Santa Cruz, and Stanford University, for the faculty research funds that supported the preliminary research for this proj ect. Fellowships from the Stanford Humanities Center and the Mi- chelle R. Clayman Institute for Gender Research provided crucial support for Sylvia Yanagisako’s writing. The Shanghai Social Sciences Institute was an ideal host for our research in Shanghai. We especially thank Li Li for help with introductions. The invitation to pres ent the Lewis Henry Morgan Distinguished Lecture of 2010 gave us the opportunity to pres ent an early analy sis and framing of our ethnographic material. We thank Robert Foster and Thomas Gibson and their colleagues in the Department of Anthropology at the University of Rochester for extending this invitation to us. The astute commentaries on our Mor- gan Lecture by Robert Foster, David Horn, Rebecca Karl, Eleana Kim, John Osburg, and Andrea Muehlebach wer e invaluable in the development and writing of this book. Donald Donham, Leiba Faier, James Ferguson, Gillian Hart, Gail Hershat- ter, George Marcus, Megan Moodie, Donald Moore, Anna Tsing, and Mei Zhan read vari ous chapters and gave the kind of honest feedback that makes all the difference. Conversations with Gopal Balakrishnan, Laura Bear, Chris- topher Connery, Karen Ho, Dai Jinhua, Keir Martin, and Massimilliano Downloaded from http://read.dukeupress.edu/books/book/chapter-pdf/678904/9781478002178-xi.pdf by guest on 24 September 2021 Mollona invigorated our analyses of transnational capitalism.
    [Show full text]
  • National Healthcare Disparities Report, 2009
    2009 Agency for Healthcare Research and Quality Advancing Excellence in Health Care • www.ahrq.gov 2009 U.S. Department of Health and Human Services Agency for Healthcare Research and Quality 540 Gaither Road Rockville, MD 20850 AHRQ Publication No. 10-0004 March 2010 www.ahrq.gov/qual/qrdr09.htm Acknowledgments The NHDR is the product of collaboration among agencies across the Department of Health and Human Services (HHS). Many individuals guided and contributed to this report. Without their magnanimous support, this report would not have been possible. Specifically, we thank: Primary AHRQ Staff: Carolyn Clancy, William Munier, Katherine Crosson, Ernest Moy, and Karen Ho. HHS Interagency Workgroup for the NHQR/NHDR: Girma Alemu (HRSA), Roxanne Andrews (AHRQ), Hakan Aykan (ASPE), Magda Barini-Garcia (HRSA), Douglas Boenning (HHS-ASPE), Miriam Campbell (CMS), Cecelia Casale (AHRQ- OEREP), Fran Chevarley (AHRQ-CFACT), Rachel Clement (HRSA), Daniel Crespin (AHRQ), Agnes Davidson (OPHS), Denise Dougherty (AHRQ-OEREP), Len Epstein (HRSA), Erin Grace (AHRQ), Tanya Grandison (HRSA), Miryam Gerdine (OPHS-OMH), Darryl Gray (AHRQ-CQuIPS), Saadia Greenberg (AoA), Kirk Greenway (IHS), Lynne Harlan (NIH/NCI), Karen Ho (AHRQ-CQuIPS), Edwin Huff (CMS), Deloris Hunter (NIH/NCMHD), Memuna Ifedirah (CMS), Kenneth Johnson (OCR), Jackie Shakeh Kaftarian (AHRQ-OEREP), Richard Klein (CDC-NCHS), Deborah Krauss (CMS/OA/OCSQ), Shari Ling (CMS), Leopold Luberecki (ASPE), Diane Makuc (CDC-NCHS), Ernest Moy (AHRQ-CQuIPS), Ryan Mutter (AHRQ- CDOM), Karen Oliver (NIH-NIMH), Tanya Pagan-Raggio (HRSA/CQ), Judith Peres (ASPE), Susan Polniaszek (ASPE), Barry Portnoy (NIH-ODP), Georgetta Robinson (CMS), William Rodriguez (FDA), Rochelle Rollins (OMH), Susan Rossi (NIH), Asel Ryskulova (CDC-NCHS), Judy Sangl (AHRQ-CQuIPS), Adelle Simmons (HHS-ASPE), Alan E.
    [Show full text]
  • Please Scroll Down for Article
    This article was downloaded by: [Sternberger, Paul] On: 26 February 2009 Access details: Access Details: [subscription number 909051291] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Photographies Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t778749997 ME, MYSELF AND INDIA Paul Sternberger Online Publication Date: 01 March 2009 To cite this Article Sternberger, Paul(2009)'ME, MYSELF AND INDIA',Photographies,2:1,37 — 58 To link to this Article: DOI: 10.1080/17540760802696971 URL: http://dx.doi.org/10.1080/17540760802696971 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Paul Sternberger ME, MYSELF AND INDIA Contemporary Indian photography and the diasporic experience Recent Indian photographers have used their medium to reveal, interpret, and influence the multifaceted nature of Indian identity and cross-cultural experiences in India and abroad.
    [Show full text]
  • Art to Commerce: the Trajectory of Popular Music Criticism
    Art to Commerce: The Trajectory of Popular Music Criticism Thomas Conner and Steve Jones University of Illinois at Chicago [email protected] / [email protected] Abstract This article reports the results of a content and textual analysis of popular music criticism from the 1960s to the 2000s to discern the extent to which criticism has shifted focus from matters of music to matters of business. In part, we believe such a shift to be due likely to increased awareness among journalists and fans of the industrial nature of popular music production, distribution and consumption, and to the disruption of the music industry that began in the late 1990s with the widespread use of the Internet for file sharing. Searching and sorting the Rock’s Backpages database of over 22,000 pieces of music journalism for keywords associated with the business, economics and commercial aspects of popular music, we found several periods during which popular music criticism’s focus on business-related concerns seemed to have increased. The article discusses possible reasons for the increases as well as methods for analyzing a large corpus of popular music criticism texts. Keywords: music journalism, popular music criticism, rock criticism, Rock’s Backpages Though scant scholarship directly addresses this subject, music journalists and bloggers have identified a trend in recent years toward commerce-specific framing when writing about artists, recording and performance. Most music journalists, according to Willoughby (2011), “are writing quasi shareholder reports that chart the movements of artists’ commercial careers” instead of artistic criticism. While there may be many reasons for such a trend, such as the Internet’s rise to prominence not only as a medium for distribution of music but also as a medium for distribution of information about music, might it be possible to discern such a trend? Our goal with the research reported here was an attempt to empirically determine whether such a trend exists and, if so, the extent to which it does.
    [Show full text]
  • Composing Outside the Beatles
    FAME Review: Composing Outside the Beatles - Lennon & McCartney: ... http://www.acousticmusic.com/fame/p06071.htm Composing Outside the Beatles: Lennon & McCartney: 1967 - 1972 PGDVD126 (DVD) Available from MVD Entertainmant Group . A review written for the Folk & Acoustic Music Exchange by Mark S. Tucker ([email protected] ). A while back, I critiqued Composing the Beatles Songbook: Lennon and McCartney 1966 - 1970 , a very compelling DVD making the case that Paul McCartney was much more responsible for many of the duo's successes than has been formerly credited. Even should one disagree with that historic supposition, Songbook was very difficult to argue with. Of the half dozen other critics I've loaned the disc to, all have remarked on the changes it wrought in their thinking. Now, Composing: 1967 - 1972 performs a sort of sanction and claims that it was not only Paul and John who broke the Beatles up, but more Yoko, as has been folklorically assumed, though Paul is enigmatically cited as more contributive than John. Well, that's the initial case anyway, just as the film opens, later reversed deep into the flick (the true explanation of Paul's quitting being revealed). As this very interesting document proceeds, however, Lennon, McCartney, and Ono all come in for a bit of a drubbing…though Yoko fares worst of all. Making the case is an assortment of critics, including Robert Christgau and Jon Pareles, as well as a few musicians (Klaus Voorman, Alan White, and Denny Seiwell) who were right there when everything was happening. The insights are first-person and well formulated—in the musicians' case, from experience and involvement.
    [Show full text]
  • The Time Is Now Thethe Timetime Isis Nownow Music Has the Power to Inspire, to Change Lives, to Illuminate Perspective, 20/21 SEASON and to Shift Our Vantage Point
    20/21 SEASON The Time Is Now TheThe TimeTime IsIs NowNow Music has the power to inspire, to change lives, to illuminate perspective, 20/21 SEASON and to shift our vantage point. featuring FESTIVAL Your seats are waiting. Voices of Hope: Artists in Times of Oppression An exploration of humankind’s capacity for hope, courage, and resistance in the face of the unimaginable PERSPECTIVES Rhiannon Giddens “… an electrifying artist …” —Smithsonian PERSPECTIVES Yannick Nézet-Séguin “… the greatest generator of energy on the international podium …” —Financial Times PERSPECTIVES Jordi Savall “… a performer of genius but also a conductor, a scholar, a teacher, a concert impresario …” —The New Yorker DEBS COMPOSER’S CHAIR Andrew Norman “… the leading American composer of his generation ...” —Los Angeles Times Left: Youssou NDOUR On the cover: Mirga Gražinytė-Tyla carnegiehall.org/subscribe | 212-247-7800 Photos: NDOUR by Jack Vartoogian, Gražinytė-Tyla by Benjamin Ealovega. Box Office at 57th and Seventh Rafael Pulido Some of the most truly inspiring music CONTENTS you’ll hear this season—or any other season—at Carnegie Hall was written in response to oppressive forces that have 3 ORCHESTRAS ORCHESTRAS darkened the human experience throughout history. Perspectives: Voices of Hope: Artists in Times of Oppression takes audiences Yannick Nézet-Séguin on a journey unique among our festivals for the breadth of music 12 these courageous artists employed—from symphonies to jazz to Debs Composer’s popular songs and more. This music raises the question of why, 13 Chair: Andrew Norman no matter how horrific the circumstances, artists are nonetheless compelled to create art; and how, despite those circumstances, 28 Zankel Hall Center Stage the art they create can be so elevating.
    [Show full text]
  • Climate Changing: on Artists, Institutions, and the Social Environment
    i CLIMATE CHANGING CLIMATE WHY CAN’T YOU TELL ME SCORE WHAT YOU NEED Somewhere our body needs party favors attending sick and resting temperatures times hot unevens twice I ask myself all the time too ward draw pop left under right Just try and squeeze me. Pause. What would you do? Fall down off my feet and try waking tired ex muses Like, you either know I can and work on it with me Or know I can’t and wouldn’t want your baby to go through what I have to go through Over prepared for three nights. Over it all scared for three nights. Tell me the unwell of never been better. Are we still good? Are we still good? TABLE OF CONTENTS Director’s Foreword 4 Johanna Burton A Climate for Changing 6 Lucy I. Zimmerman On Chris Burden’s Wexner Castle 10 Lucy I. Zimmerman Notes on Chris Burden’s Through the Night Softly 15 Pope.L WE LEFT THEM NOTHING 17 Demian DinéYazhi´ Untitled 21 Jibade-Khalil Huffman Scores 1, 3, 13, 23, 27, 50 Park McArthur and Constantina Zavitsanos Questioning Access 25 Advisory Committee Roundtable Discussion Artists in the Exhibition 29 Acknowledgments 47 3 BLANKET (STATEMENT) SCORE Why can’t you just tell me what you need DIRECTOR’S FOREWORD 4 Johanna Burton, Executive Director Opening in the first month of 2021 (or at least set to committee’s roundtable discussion further explores, open then at the time of this writing), Climate Changing: the exhibition intends not to inventory nor propose On Artists, Institutions, and the Social Environment solutions for these considerable challenges, but rather comes at a time of great uncertainty for cultural or- to provide artists a forum for bringing the issues into ganizations.
    [Show full text]
  • Making Markets and Constructing Crises: a Review of Ho's Liquidated
    The Qualitative Report Volume 17 Number 15 Book Review 3 4-9-2012 Making Markets and Constructing Crises: A Review of Ho’s Liquidated Alexandra B. Cox University of Georgia, [email protected] Follow this and additional works at: https://nsuworks.nova.edu/tqr Part of the Quantitative, Qualitative, Comparative, and Historical Methodologies Commons, and the Social Statistics Commons Recommended APA Citation Cox, A. B. (2012). Making Markets and Constructing Crises: A Review of Ho’s Liquidated. The Qualitative Report, 17(15), 1-4. https://doi.org/10.46743/2160-3715/2012.1786 This Book Review is brought to you for free and open access by the The Qualitative Report at NSUWorks. It has been accepted for inclusion in The Qualitative Report by an authorized administrator of NSUWorks. For more information, please contact [email protected]. Making Markets and Constructing Crises: A Review of Ho’s Liquidated Abstract This book review is a beginning academic researcher’s interpretation of the robust methods and rich data Ho presents in her study of investment banking culture and the market in Liquidated: An Ethnography of Wall Street (2009). A unique contribution of the text is Ho’s combining of ethnographic methods in order to practice polymorphous engagement in her study. A weakness of the text is Ho’s lacking autoethnographic analysis of her experience as an Asian American woman on Wall Street. The book will be helpful for a scholarly audience interested in studying rigorous ethnographic methodologies and exploring the culture of Wall Street. Keywords Ethnography, Polymorphous Engagement, Pre-fieldwork, allW Street Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License.
    [Show full text]