Why I Love NYC: Le Tigre
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Dissertation
DISSERTATION Titel der Dissertation “We’re Punk as Fuck and Fuck like Punks:”* Queer-Feminist Counter-Cultures, Punk Music and the Anti-Social Turn in Queer Theory Verfasserin Mag.a Phil. Maria Katharina Wiedlack angestrebter akademischer Grad Doktorin der Philosophie (Dr. Phil.) Wien, Jänner 2013 Studienkennzahl lt. Studienblatt: A 092 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin / Betreuer: Univ. Prof.in Dr.in Astrid Fellner Earlier versions and parts of chapters One, Two, Three and Six have been published in the peer-reviewed online journal Transposition: the journal 3 (Musique et théorie queer) (2013), as well as in the anthologies Queering Paradigms III ed. by Liz Morrish and Kathleen O’Mara (2013); and Queering Paradigms II ed. by Mathew Ball and Burkard Scherer (2012); * The title “We’re punk as fuck and fuck like punks” is a line from the song Burn your Rainbow by the Canadian queer-feminist punk band the Skinjobs on their 2003 album with the same name (released by Agitprop Records). Content 1. Introduction .......................................................................................................... 1 2. “To Sir With Hate:” A Liminal History of Queer-Feminist Punk Rock ….………………………..…… 21 3. “We’re punk as fuck and fuck like punks:” Punk Rock, Queerness, and the Death Drive ………………………….………….. 69 4. “Challenge the System and Challenge Yourself:” Queer-Feminist Punk Rock’s Intersectional Politics and Anarchism……...……… 119 5. “There’s a Dyke in the Pit:” The Feminist Politics of Queer-Feminist Punk Rock……………..…………….. 157 6. “A Race Riot Did Happen!:” Queer Punks of Color Raising Their Voices ..……………..………… ………….. 207 7. “WE R LA FUCKEN RAZA SO DON’T EVEN FUCKEN DARE:” Anger, and the Politics of Jouissance ……….………………………….…………. -
The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC). -
Issue L'essai COMME PRATIQUE ARTISTIQUE ARTS VISUELS #21 E
OCTOBRE 2011 Issue #21 L’ESSAITHE ESSAY COMME AS PRATIQUE ARTISTIQUEARTISTIC PRACTICE ARTS VISUELS head_issue_no21.indd 1 24.10.2011 15:31:59 The Organ * Concerts Halle/S. féminisme gender Sleater Kinney Müllstation*** The Lurkers Barcelone RIOT GRRRLS Rancid The Clash Kathleen Hanna Electrelane The Offspring* Bernard Heidsieck Beth Ditto PUNK ash* John Cage Alvin Lucier Bikini Kill X-Ray Spex deus* Le Tigre The Rezillos Sound Art The Gossip identity Sex Pistols* ALTERNATIVE Maryanne Amacher Buzzcocks MTV Pauline Oliveros Leipzig Berlin Sham 69 guide to alternative nation 120 minutes Circuit Bending The Vibrators* REM* Ray Cokes Vienne Pouvoir La volonté de savoir Discours Rhizome M. Foucault la différence / la différance Deleuze/Guattari Oscar Wilde Gabriel García Márquez H.V.Kleist DECONSTRUCTIVISME POST-STRUCTURALISME préjugés J.Derrida R. Barthes Hofstadter Franz Kafka Robert Musil Chris Marker Mythologies Logique L’Homme sans qualités Thomas Mann Edith Piaf Sans soleil J.S. Bach Bertolt Brecht EXISTENTIALISME Das musikalische Opfer Huis clos Sartre Camus THÉORIE CRITIQUE / Die Kunst der Fuge Friedrich Dürrenmatt Peter Handke L’Etre et le néant ÉCOLE DE FRANCFORT le théâtre absurde Sisyphos Heinrich Böll LITTÉRATURE Les mots T.W.Adorno Horkheimer APRÈS GUERRE Genève Max Frisch Dialectique de la Raison Homo Faber Samuel Beckett Ingeborg Bachmann Minima Moralia Stiller Thomas Bernhard En attendant Godot Nelly Sachs Günter Grass Elfriede Jelinek Alexander Kluge Cindy Sherman Agnès Varda Photo Alte Meister Fischli/Weiss Lisl Ponger Das -
REFORMULATING the RIOT GRRRL MOVEMENT: GRRRL RIOT the REFORMULATING : Riot Grrrl, Lyrics, Space, Sisterhood, Kathleen Hanna
REFORMULATING THE RIOT GRRRL MOVEMENT: SPACE AND SISTERHOOD IN KATHLEEN HANNA’S LYRICS Soraya Alonso Alconada Universidad del País Vasco (UPV/EHU) [email protected] Abstract Music has become a crucial domain to discuss issues such as gender, identities and equality. With this study I aim at carrying out a feminist critical discourse analysis of the lyrics by American singer and songwriter Kathleen Hanna (1968-), a pioneer within the underground punk culture and head figure of the Riot Grrrl movement. Covering relevant issues related to women’s conditions, Hanna’s lyrics put gender issues at the forefront and become a sig- nificant means to claim feminism in the underground. In this study I pay attention to the instances in which Hanna’s lyrics in Bikini Kill and Le Tigre exhibit a reading of sisterhood and space and by doing so, I will discuss women’s invisibility in underground music and broaden the social and cultural understanding of this music. Keywords: Riot Grrrl, lyrics, space, sisterhood, Kathleen Hanna. REFORMULANDO EL MOVIMIENTO RIOT GRRRL: ESPACIO Y SORORIDAD EN LAS LETRAS DE KATHLEEN HANNA Resumen 99 La música se ha convertido en un espacio en el que debatir temas como el género, la iden- tidad o la igualdad. Con este trabajo pretendo llevar a cabo un análisis crítico del discurso con perspectiva feminista de las letras de canciones de Kathleen Hanna (1968-), cantante y compositora americana, pionera del movimiento punk y figura principal del movimiento Riot Grrrl. Cubriendo temas relevantes relacionados con la condición de las mujeres, las letras de Hanna sitúan temas relacionados con el género en primera línea y se convierten en un medio significativo para reclamar el feminismo en la música underground. -
200,000 March on Washington, D.C
THE VOICE OF CHICAGO’S GAY, LESBIAN, BI AND TRANS COMMUNITY SINCE 1985 Oct. 14, 2009 • vOl 25 nO 2 www.WindyCityMediaGroup.com 200,000 march on Washington, D.C. Tens of thousands of people—such as these members of Equality Across America—took part in Sunday’s National Equality March. Read more about the event on page 4, and see many more photos inside and online Chicago at www.WindyCityMediaGroup.com. Photo by Joe Tresh Rally page 6 Howard Brown Gala page 21 Grassroots, Netroots, Stonewall 2.0 activists media reports pegged the turnout at “tens of “The younger generation, my generation, we demand equality, formalize split with thousands.” But, as Towle noted, “There were are the ones coming up in the world, and we activist establishment 10 times as many people still on Pennsylvania must continue to push this movement forward by REX WOCKNER Avenue when the area in front of the stage had and close the gap. We must demand full equality filled,” an assertion that is backed up by video for all. They say that this country is free and WASHINGTON—The Stonewall 2.0 generation Towle posted on his site. they say that this country is equal, but it is not descended on the nation’s capital Oct. 11 to de- The 2.3-mile march ended at the Capitol with equal if it’s (only) sometimes (equal).” mand “equal protection in all matters governed hours of speeches, including by pop-music sen- “Obama, I know that you’re listening. ARE by civil law in all 50 states.” sation Lady Gaga. -
Download Artist Bios
REFLECTING ABSTRACTION April 14 - May 14, 2011 Participants SADIE BENNING Sadie Benning was born in Madison, Wisconsin in 1973. She received her M.F.A. from Bard College in 1997. Her videos have been exhibited internationally in museums, galleries, universities and film festivals since 1990 with select solo exhibitions at the Museum of Modern Art, The Whitney Museum of American Art, The Film Society of Lincoln Center, Centre Georges Pompidou, and Hallwalls Contemporary Arts Center among other venues. Her work is in many permanent collections, including those of the Museum of Modern art, The Fogg Art Musuem, and the Walker Art Center, and has been included in the following exhibitions: Annual Report: 7th Gwangju Biennale (2008); White Columns Annual (2007); Whitney Biennial (2000 and 1993); Building Identities, Tate Modern (2004); Remembrance and the Moving Image, Australian Centre for the Moving Image (2003); Video Viewpoints, Museum of Modern Art (2002); American Century, Whitney Museum of Modern Art (2000); Love’s Body, Tokyo Museum of Photography (1999); Scream and Scream Again: Film in Art, Museum of Modern Art Oxford (1996-7), and Venice Biennale (1993). Benning’s recent work has increasingly incorporated video installation, sound, sculpture, and drawing. Solo exhibitions include Wexner Center for the Arts (Sadie Benning: Suspended Animation, 2007), Orchard Gallery (Form of…a Waterfall, 2008), Dia: Chealsea (Play Pause, 2008) and The Power Plant (Play Pause, 2008). She is a former member and cofounder, with Kathleen Hanna and Johanna Fateman, of the music group Le Tigre. She has received grants and fellowships from Guggenheim Foundation, Andrea Frank Foundation, National Endowment of the Arts, and Rockefeller Foundation. -
Moma EXHIBITION AUTOMATIC UPDATE EXPLORES THE
LOOKING AT MUSIC 3.0 EXPLORES THE INFLUENCE OF MUSIC ON CONTEMPORARY ART IN NEW YORK IN THE 1980s AND 1990s AND THE BIRTH OF “REMIX CULTURE’’ Gallery Exhibition Is Accompanied by a Film Program in March 2011 Looking at Music 3.0 February 16–June 6, 2011 The Yoshiko and Akio Morita Media Gallery, second floor NEW YORK, February 2, 2011—Looking at Music 3.0, the third in a series of exhibitions at The Museum of Modern Art exploring the influence of music on contemporary art practices, focuses on New York in the 1980s and 1990s and the birth of “remix culture.” The exhibition is on view in The Yoshiko and Akio Morita Media Gallery from February 16 through June 6, 2011. Highlighting a unique range of activity within the city during those decades, the exhibition addresses the birth of hip hop; new articulations of feminism as seen in video chain letters, zines, and raucous art and music performances; the continued artistic development of music videos; and the rise of the digital domain, where sound and image acquired a curious parity as sampled bits of electronic information, raising the curtain on new creative possibilities. Approximately 70 works from a wide range of artists and musicians are on view, including works by the Beastie Boys, Kathleen Hanna and Le Tigre, Keith Haring, Miranda July, Christian Marclay, Steven Parrino, and Run-DMC. A film exhibition closely linked to the artists and works on view in the gallery exhibition runs from March 2 to March 10, 2011, in MoMA’s Roy and Niuta Titus Theaters. -
LIGHTBOX FILM CENTER at INTERNATIONAL HOUSE PHILADELPHIA to SCREEN LAURA PARNES’ ‘TOUR WITHOUT END.’ Wednesday, September 12 at 7Pm
LIGHTBOX FILM CENTER AT INTERNATIONAL HOUSE PHILADELPHIA TO SCREEN LAURA PARNES’ ‘TOUR WITHOUT END.’ Wednesday, September 12 at 7pm Press Contact: [email protected] Philadelphia, PA–Lightbox Film Center at International House Philadelphia is pleased to announce the screening of Laura Parnes’ Tour Without End on Wednesday, September 12 at 7pm. This screening is part of Lightbox Film Center’s monthly Subversive Elements series dedicated to experimental film and moving image art. Parnes, a Philadelphia native and notable Tyler School of Art alumni, will be in attendance. The film features members of Gang Gang Dance, Julie Ruin, MEN, Eartheater, MGMT, Light Asylum and more. An official selection of the 2018 Sarasota Film Festival, Tour Without End is an experimental narrative comedy/documentary hybrid film. Casting real-life musicians, artists, and actors as fictional bands on tour, the film evolves into a cross-generational commentary on contemporary culture and politics in the Trump era. Shot over the course of 4 years between 2014-2018, at over 15 DIY music spaces in and around NYC, Tour Without End functions as a time capsule made more apparent by the shuttering of many of the films’ locations due to NYC’s rapid gentrification. The film’s multitude of characters are legendary performers in the downtown NYC arts scene including Wooster Group founder Kate Valk, Jim Fletcher (The NYC Players), musicians Lizzi Bougatsos, (Gang Gang Dance), Kathleen Hanna (The Julie Ruin), Brontez Purnell (The Younger Lovers), Eileen Myles, Alexandra Drewchin (Eartheater), Nicole Eisenman, K8 Hardy, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum), JD Samson (MEN), Gary Indiana, Kembra Pfahler, (Voluptuous Horror of Karen Black), Rachel Mason, Tom McGrath, Matthew Asti (MGMT), Becca Blackwell, Christen Clifford, Alessandra Genovese (Crush), Rogelio Ramos (Love Pig), Kenya Robinson (Cheeky LaShae) and Neon Music (Youth Quake). -
Bamcinématek Presents Punk Rock Girls, an 11-Film Survey of Cinema's
BAMcinématek presents Punk Rock Girls, an 11-film survey of cinema’s toughest she-rockers, May 7—Jun 1 Opens with a sneak preview of Lukas Moodysson’s We Are The Best! with Moodysson in person Director Slava Tsukerman in person for Liquid Sky The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Apr 18, 2014—From Wednesday, May 7 through Sunday, June 1, BAMcinématek presents Punk Rock Girls, an 11-film survey of cinema’s toughest she-rockers. To mark the release of Lukas Moodysson’s (Show Me Love, Lilya 4-Ever) punk rock valentine, We Are the Best!, BAMcinématek pays homage to the fearless, mohawk-sporting, safety pin-wearing, guitar- wielding women who stick it to The Man. Opening the series on Wednesday, May 7 is a sneak preview of We Are the Best!, in which three rebellious Stockholm tween girls start a punk band. Adapted from a graphic novel by the director’s wife, the film premiered at Toronto last year and simultaneously “captures the DIY empowerment of punk rock, the bond of female friendships, and parodies the era’s Oi!-scenester stances all in one blissful swoop” (David Fear, The Village Voice). Moodysson will appear in person for a Q&A following the screening. We Are the Best! is a Magnolia Pictures release and opens May 30. Diane Lane, Laura Dern, and Marin Kanter play another trio of teen punk girls in Lou Adler’s Ladies and Gentlemen, The Fabulous Stains (1982—May 31), which screenwriter Nancy Dowd (Coming Home, Slap Shot) was inspired to write after attending her first Ramones show. -
Read the Following Text and Answer the Questions. the Riot
Read the following text and answer the questions. The riot grrrl returns Dan Hancox – October 3, 2013 – The National Among the various waves of western feminism and rebellious youth subcultures since the 1960s, riot grrrl stands out as one of the most provocative, but also one of the most thoughtful and deliberative. Its roots were in the punk and new wave music and attitude of the late 1970s and 1980s, but it was not until the early 1990s that the term emerged from the punk scenes of Washington DC and the north-western region of the United 5 States, drawing on a growing youth feminist movement and the DIY youth culture embodied in homemade, cut-and-paste fanzines. References to “revolution girl style now” and “riot girls” mutated into the punk growl not of docile girls but “grrrls”. It was quickly and substantially misunderstood by the very culture they were rebelling against: as bands like Bikini Kill and Bratmobile began to attract attention beyond the punk underground, so did the American 10 media’s excitement about this “new big thing”, in the aftermath of grunge. This excitement quickly manifested itself in a tendency to generalise, fetishise and trivialise the things the riot grrrls were singing about, and conveying through their broader aesthetics: in fanzines, onstage, or otherwise. “There were,” Sharon Cheslow said in the 11-part Riot Grrrl Retrospective documentary, “a lot of very important ideas that I think the mainstream media couldn’t handle, so it was easier to focus on the fact that these were girls who 15 were wearing barrettes in their hair or writing ‘slut’ on their stomach.” Covering issues like misogyny, abuse and patriarchy were considered too contentious or complex for the American mainstream, and instead, the movement was patronised in a way which confirmed much of their original anger. -
School of Art 2021–2022
School of Art 2021–2022 BULLETIN OF YALE UNIVERSITY Series 117 Number 4 June 30, 2021 BULLETIN OF YALE UNIVERSITY Series 117 Number 4 June 30, 2021 (USPS 078-500) is published seventeen times a year (one time in May and October; three times in June and September; four times in July; five times in August) by Yale University, 2 Whitney Avenue, New Haven CT 06510. Periodicals postage paid at New Haven, Connecticut. Postmaster: Send address changes to Bulletin of Yale University, PO Box 208227, New Haven CT 06520-8227 Managing Editor: Kimberly M. Go≠-Crews Editor: Lesley K. Baier PO Box 208230, New Haven CT 06520-8230 The closing date for material in this bulletin was June 10, 2021. The University reserves the right to amend or supplement the information published in this bulletin at any time, including but not limited to withdrawing or modifying the courses of instruction or changing the instructors. ©2021 by Yale University. All rights reserved. The material in this bulletin may not be reproduced, in whole or in part, in any form, whether in print or electronic media, without written permission from Yale University. Content Questions regarding the editorial content of this publication may be referred to Taryn Wolf, Assistant Dean for Academic A≠airs, Yale School of Art. Inquiries All inquiries regarding admission to graduate programs in art should be addressed to the O∞ce of Academic Administration, Yale School of Art, 1156 Chapel Street, PO Box 208339, New Haven CT 06520-8339; telephone, 203.432.2600; email, art.admissions@ yale.edu. Website http://art.yale.edu The School of Art Bulletin is primarily a digital publication, available in HTML and pdf at https://bulletin.yale.edu. -
Skater Competes in Women's Derby
JD SAMSON TALKS ABOUT HER LATEST ALBUM WINDY CITY PAGE 16 THE VOICE OF CHICAGO’S GAY, LESBIAN, BI AND TRANS COMMUNITY SINCE 1985 JAN. 29, 2014 VOL 29, NO.18 TIMESwww.WindyCityMediaGroup.com Skater competes in women’s STATE SEN. KYLE MCCARTER FILES CHALLENGE TO GAY MARRIAGE derby page 7 BY KATE SOSIN For Joseph L. Simonis, it wasn’t a lifelong passion realized, a per- sonal test of strength or a political statement. It was a way for her to guide the rudders of a second puberty, to hang onto a body in the process of the change. Simonis is one of the first transgender skaters to compete with the Windy City Rollers, the Chicago-based women’s derby league (Simo- nis points out that she does not typically use labels like “transgen- der.”) She is in her second year with the league and has steadily moved Joseph L. Simonis. up in the local derby scene, often unintentionally challenging tradi- Photo by Ross Forman Turn to page 8 PLANNED PARENTHOOD MARKS 40TH STAR-STUDDED ANNIVERSARY Windy City Times OF ROE V. WADE talks with two very WITH CEO big-name stars this CAROLE BRITE week: actor Greg Kinnear (page 22) pagE 9 and former boxer Mike Tyson (on page 19). Kinnear talks about his new show, Rake, while Tyson ruminates on his one-man show and smooching Robert Downey Jr. GAY DIRECTOR EDGAR BARENS page 19 HAS AN OSCar- NOMINATED page 22 DOCUMENTARY pagE 17 2 Jan. 29, 2014 WINDY CITY TIMES WINDY CITY TIMES this week in NEWS WINDY CITY TIMES Jan.