Komplette Ausgabe Als
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Hough Expounds on Andropov's Mayer
I ~~ Where You Read It First Wednesday, November 16, 1983 Volume VI1 Number 47 Mayer Addresses West Hall Residents in Fireside Chat by PRUDENCE GRANT Tufts President Jean Mayer con- Mayer responded to this concern with ducted another of his series of fireside an anecdote, stating that he had learn- chats in West Hall Monday night. ed to speak English from three main As there was no single area offocus, sources - a list of irregular verbs Mayer discussed and answered ques- given to him by his father, church ser- tions on a variety of campus concerns. mons and Jimmy Cagney movies. The West Hall audience was predom- Mayer also addressed last week’s at- inantly male, and there were about ffi- lacks against Professor Elliott of the ty in attendance. Political Science department. Mayer After some brief opening remarks in labelled the issue, which coincided which he outlined upcoming im- with Elliott’s resignation as depart- provements to the campus and ex- ment chairman, “a minor tragedy,” pressed satisfaction and optimism with and he praised Elliott’s outstanding the present state of Tufts, Mayer op- character and devotion to Tufts ened the floor to questions. students. When asked to comment on what Mayer also spoke at length about the will be done about parking availabili- denial of tenure to Peter Dreier and Planners of the Elizabeth Van Huysen Mayer Campus Center, which began ty on campus, Mayer said that there about Tufts’ hiring procedures in construction last week, hope that the center will “bring the community are solutions,“but not ones that general. -
Kulturhauptstadt Ruhr.2010
Essen2010 Die Dokumentation Essen2010 Die Dokumentation www.essen2010.com Essen2010 Die Dokumentation ESSEN 2010 _ DIE DOKUMENTATION ESSEN 2010 _ DIE DOKUMENTATION 5 Vorwort 7 Vorwort Geno Bank Essen VOR 2010 8 Das Kulturhauptstadt-Büro stellt sich auf 10 Von der Bewerbung zum Kulturhauptstadt-Büro Impressum 12 Strukturen und Organisation 17 Mitarbeitermobilisierung Herausgeber Kulturhauptstadt-Büro der Stadt Essen Geschäftsbereich Kultur, Integration und Sport 2010 Hollestr. 3, 45127 Essen [email protected] 18 Wir sind Kulturhauptstadt www.essen2010.com 20 Kulturhauptstadt Ruhr.2010 – Das Programm in Essen V.i.S.d.P.: Andreas Bomheuer, Geschäftsbereichsvorstand für Kultur, Integration und Sport der Stadt Essen 40 Öffentlichkeitsarbeit Redaktion Andrea Rohmert 48 Tourismus Redaktionelle Mitarbeit 54 ESSEN.aktiv Bernd Alles, Horst Biernatzki, Christine Dübbert, Dennis Gülsen, Pia Lüttge, Sabine Ritzdorf, Katja Sander, Thilo Spellenberg, Jörn Tebbel, Robert Welzel, Stefan Zebrowski, Tobias Zisch NACH 2010 Bildredaktion Christine Dübbert 56 Einmal Kulturhauptstadt, immer Kulturhauptstadt Koordination & Lektorat 58 Was bleibt von der Kulturhauptstadt? Christine Dübbert 62 Programmplanungen Gestaltung Volker Pecher 66 Öffentlichkeitsarbeit Druck 67 Tourismus Klartext-Verlag, Essen Stand: Mai 2011 68 Fazit Die Texte und Bilder wurden mit großer Sorgfalt zusammengestellt. Das Kulturhauptstadt-Büro der Stadt Essen kann jedoch für die Genauigkeit und Vollständigkeit 70 Anhang der Informationen nicht garantieren. 2 3 ESSEN 2010 _ DIE DOKUMENTATION ESSEN 2010 _ DIE DOKUMENTATION Frank Vinken Frank © Reinhard Paß Andreas Bomheuer Oberbürgermeister der Stadt Essen Geschäftsbereichsvorstand für Kultur, Integration und Sport der Stadt Essen Vorwort Ein Jahr lang trug die Stadt Essen den Titel Wir dürfen stolz auf das sein, was wir Be- eigener Kraft überdauern, doch manches „Kulturhauptstadt Europas 2010“ als Ban- suchern und Bewohnern im Jahr 2010 bie- gilt es zu pflegen und weiterzuentwickeln, nerträgerin für die Region Ruhrgebiet. -
Lawrence D. “Butch” Morris
Lawrence D. “Butch” Morris American Cornetist, Composer & Conductor (February 10, 1947 – January 22, 2013) 1 Track listing 1. title: Conduction #1: Current Trends in Racism in Modern America (Part 1 (cont.)) personnel: Butch Morris (conductor), Frank Lowe (saxophone), John Zorn (saxophone, game calls), Christian Marclay (turntables), Thurman Barker (marimba), Curtis Clark (piano), Brandon Ross (guitar), Zeena Parkins (harp), Eli Fountain (vibraphone), Tom Cora (cello), Yasunao Tone (vocal) album title (format): Current Trends in Racism in Modern America (lp) label (country) (catalog number): Sound Aspects Records (Germany) (SAS 4010) recording location and date: New York, USA, February 1st, 1985 release date: 1986 duration: 12:12 2. title: Ozone – Burning Blue personnel: Butch Morris (cornet), Lê Quan Ninh (percussion), J.A. Deane (trombone, flute, electronics) album title (format): Burning Cloud label (country) (catalog number): Free Music Productions (Germany) (FMP CD 77 ) recording location and date: Berlin, Germany, October 29, 1993 release date: 1996 duration: 18:27 3. title: Conduction #26, E personnel: Butch Morris (conductor), Hasan Esen (kemence), Mehmet Emin Bitmez (ud), Göskel Baktagir (kanun), Süleyman Erguner (ney), Lê Quan Ninh (percussion), Bryan Carrott (vibraphone), J.A. Deane (trombone, electronics, drum machine), Elizabeth Panzer (harp), Brandon Ross (acoustic guitar), Steve Colson (piano), Hugh Ragin (pocket trumpet) album title (format): Testament: A Conduction Collection Disc 5 (cdx10+book+box) label (country) (catalog -
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 ……….………………………….…………. -
Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing. -
I S C O R D E R Free
I S C O R D E R FREE IUTE K OGWAI ARHEAD NC HR IS1 © "DiSCORDER" 2001 by the Student Radio Society of the University of British Columbia. All rights reserved. Circuldtion 1 7,500. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Mag azine. DEADLINES: Copy deadline for the August issue is July 14th. Ad space is available until July 21st and ccn be booked by calling Maren at 604.822.3017 ext. 3. Our rates are available upon request. DiS CORDER is not responsible for loss, damage, or any other injury to unsolicited mcnuscripts, unsolicit ed drtwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc or in type. As always, English is preferred. Send e-mail to DSCORDER at [email protected]. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office at 822.301 7 ext. 0, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at: [email protected], visit our web site at http://www.ams.ubc.ca/media/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC. -
Volles Programm! Kontaktdaten Abwechslungsreich, Kreativ Und Inspirierend Wie Eh Und Je
Presseinformation Metropole Ruhr, 09.05.2017 ExtraSchicht 2017- Volles Programm! Abwechslungsreich, kreativ und inspirierend wie eh und je. Kontaktdaten Ruhr Tourismus GmbH Am 24. Juni präsentiert die Metropole Ruhr zum 17. Mal an 46 Spielorten in Sarah Thönneßen 21 Städten ihr geballtes kreatives Potenzial. Zwischen 18 und 2 Uhr zeigen Centroallee 261 über 2000 Künstler, was sie drauf haben: atemberaubende Akrobatik, fun- 46047 Oberhausen kensprühende Feuer- und Lasershows, mitreißende Musik sowie einzigartige Führungen und inspirierende Mitmach-Aktionen. Und das alles in industrie- kultureller Kulisse – in Zechen und Gasometern, auf Hochöfen, unter Tage Tel.: 0208 899 59 111 und in der Luft. E-Mail: s.thoennessen@ ruhr-tourismus.de Die Riege der Künstler vereint alte Hasen und junge Hüpfer, bekannte Namen und vielversprechende Nachwuchstalente: Mit dabei sind das „Supertalent“ Liz Schnei- der mit ihrer einzigartigen Kombination aus Jazz und Klassik, Frank Goosen und Sönke Wortmann mit ihrer Lesung zum Film „Sommerfest“, Stimmungsgaranten wie Tommy Finke, die Fritz Brause Band und die Komm'Mit Mann!s sowie Spaß- macher wie Markus Krebs, Helmut Sanftenschneider und das Improtheater Em- scherblut. Mit im Boot sind erneut das Klavier- Festival Ruhr, das blicke Filmfesti- val, WortLautRuhr und die Folkwang Universität der Künste. Kultstatus genießen mittlerweile die Shows von Alpcologne, dem Illuminist, den Physikanten oder den Firedancern. Die 8-Stunden-ExtraSchicht öffnet thematisch einen breiten Fächer: von Science- Slam bis Bier brauen, von explodierenden Gurken bis Lachyoga, von literarischer Lesung bis Wildwest-Romantik ist alles dabei. Auf unterhaltsame Weise Neues erkunden – viele spannende Führungen gewähren Blicke auf sonst Verborgendes: riesige Werksgelände, Hochöfen und Katakomben, spannende Geschichten ehe- maliger Bergleute inklusive. -
Oslo, Norway – 31
OSLO, NORWAY – 31. MARCH - 03. APRIL 2010 MAYHEM A RETROSPECTIVE OF GIANTS A VIEW FROM BERGEN TAAKE NACHTMYSTIUM THE TRANSATLANTIC PERSPECTIVE REVELATORY, TRANSFORMATIVE MAGICK JARBOE TEN YEARS OF INFERNO – THE PEOPLE TELL THEIR STORIES OSLO SURVIVOR GUIDE – CINEMATIC INFERNO – CONFERENCE – EXPO – AND MORE WWW.ROSKILDE-FESTIVAL.DK NÅ PÅ DVD OG BLU-RAY! Photo: Andrew Parker Inferno 2010 (from left): Carolin, Jan Martin, Hilde, Anders, Runa, Torje and Melanie (not present: Lars) HAIL ALL – WELCOME TO THE INFERNO METAL FESTIVALS TEN YEAR ANNIVERSARY! n annual gathering of metal, the black and extreme, the blasphemous Aand gory – music straight from hell! Worshippers from all over the world congregate for the fest of the the black metal easter in the North. YOU are hereby summoned! ron fisted, the Inferno Fest has ruled the first decade of the new Millenn- INFERNO MAGAZINE 2010 Iium. It has been a trail of hellfire. Sagas have been written and legacies Editor: Runa Lunde Strindin carved in willing flesh with new bands and new musical territory continously Writers: Gunnar Sauermann, Jonathan Seltzer, Hilde Hammer, conquered ! Bjørnar Hagen, Trond Skog, Anders Odden, Torje Norén. Photos: Andrew Parker, Alex Sjaastad, Charlotte Christiansen, Trond Skog, ail to all the bands, the crew and the volunteers, venues and clubs! Lena Carlsen. HHail to the dedicated media, labels and managements, our partners and IMX and IMC photos: Viktor Jæger collaborators! Inferno logos and illustrations, magazine layout: Hail to the Inferno audience with their dark force and energy. Asgeir Mickelson at MultiMono (www.multimo.no) With you all onboard we set our sails for the next Inferno! Advertising: Melanie Arends and Hilde Hammer at turbine agency (www.turbine.no) Join this years fest and the forthcoming gatherings in the Distribution: turbine agency + Scream Magazine years to come. -
Freier Download BA 58 Als
BAD 58 ALCHEMY 1 STEINER: ... Die Musik besiegt den Tod, aber dann besiegt das Mysterium tremendum die Musik. Orpheus stirbt, von den Mänaden zerrissen. Dann kommt etwas, das für uns heute abend wichtig ist: Der Körper blutet aus, aber, das ist eine archaische Überlieferung, der Kopf singt weiter. Aus dem Mund des toten Orpheus strömt Musik. Das zweite Thema ist Marsyas, dieser grausame, furchtbare Mythos vom Kampf zwischen ihm und Apollon, in dem Marsyas geschändet wird. Auf Tizians berühmtem Gemälde finden wir alle Motive unseres heutigen Gesprächs. Es ist das größte seiner Bilder, und auch das grausamste. Worum ging es in dem Kampf? In dem Logos Apollons heißt es: Musik ist das Ornament der Sprache. Und Marsyas sagt: Der Wind ist Musik, der Vogel singt Musik, das Meeresrauschen ist Musik. Die Sprache ist ein später Gast und ein falscher. Dann das Sirenen-Motiv. Der Gesang tötet, er hält ganz mysteriös das Versprechen. Was sagen die Sirenen? Wir können dir sagen, was in der Welt war, was in der Welt ist und was in ihr sein wird. Die Verheißung des Alten Testa- ments. Die Verheißung des Baums im Paradies, des Baums der Wissenschaft, des Wissens. Hör unserem Gesang zu. Odysseus überlebt, er segelt weiter. Das war der letzte Moment, wo der Mensch in der Musik die Urkraft der Schöpfung hören konnte. Aber die Warnung war da: Musik ist übermenschlich, aber auch unmenschlich. Schopenhauer sagt: Auch wenn die Welt nicht wäre, könnte die Musik bestehen. Ich bin sicher, der Satz stimmt. Zuerst sind wir Gäste der Musik. Vielleicht kommt die Sprache erst viel später. -
Dischord Records 3819 BEECHER ST
FUGAZi "First Demo" dischord rEcords DIS181 DIS181CD 11-song CD DIS181V 11-song LP+MP3 Release Date: November 18, 2014 Ian MacKaye - vocals, guitar Guy Picciotto - vocals Joe Lally - bass Brendan Canty - drums In early January 1988 and after only ten shows, Fugazi decided to go into Inner Ear Studio to see what their music sounded like on tape. Despite the fact that Ian, Joe, and Brendan had been playing together for nearly a year, it was still early days for the band. Guy had only been a full member of Fugazi for a few months and only sang lead on one song ("Break In"). It would be nearly another year before he would start playing guitar with the band. At that time, the studio was still located in the basement of engineer Don Zientara's family house. It was a familiar space as almost all of the members of Fugazi had recorded there with their previous bands (Teen Idles, Minor Threat, Deadline, Insurrection, Rites of Spring, Skewbald, Embrace, and One Last Wish). Joey Picuri (aka Joey P), who would later become one of Fugazi's longtime sound engineers, joined the band for the initial tracking. The sessions only lasted a couple of days, but tour dates and indecision about the tape would delay the final mix for another two months. Though the band was at first pleased with the results, it soon became clear that this tape would remain a demo as new songs were being written and the older songs were evolving and changing shape while the band was out on tour. -
The Dicks Top: the Dicks in the Early 1980S
The Dicks Top: The Dicks in the early 1980s. Photo: Mark Christal. Bottom: The Dicks in 2005. L to R: Buxf Parrot (bass), Gary Floyd (vocals), Pat Deason (drums). Photo: Carlos Lowry. 4 The Dicks The Dicks were confrontational right out of the gate. A seminal band, and not just because singer Gary Floyd sometimes threw condoms filled with fake cum into the crowd. By all accounts, the Dicks challenged their audiences and revealed new possibilities. They made their concerts a hell of an experience and created memorable political music with a sound that was completely their own. The Dicks formed in Austin in 1980. They relocated to San Francisco and changed personnel halfway through the duration of the group, before breaking up in 1986. When one thinks of early hardcore punk music in Texas, a small but critical list of bands comes to mind immediately: the Big Boys, Dirty Rotten Imbeciles (DRI), Butthole Surfers, Really Red, the Stains (later renamed MDC), the Offenders and the Dicks. The Dicks first came to the ears of many with a three song 7”, The Dicks Hate the Police . The band re - leased this 7” in 1980 on their own Radical Records label (by the way, no relation to the more well known R Radical label that Dave Dictor from Stains and MDC created soon after). The song “The Dicks Hate the Police” is an exceptionally memorable and passionate first statement for a band. These lyrics by guitarist Glen Taylor remain stinging and painful, especially while being delivered in a voice that is both mournful and pissed off at the same time: Daddy, Daddy, Daddy Proud of his son He’s got a good job Kills niggers and Mexicans We’ll tell you something and it’s true If you can’t find justice it’ll find you The popular Seattle-based band Mudhoney covered the song as “Hate the Police.” This brought the Dicks’ music to the attention of many thousands of people that might not have heard them otherwise. -
Henry Kaiser-Ray Russell
Bio information: HENRY KAISER & RAY RUSSELL Title: THE CELESTIAL SQUID (Cuneiform Rune 403) Format: CD / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: JAZZ / AVANT-JAZZ / IMPROV Uncaged Session Ace Ray Russell Makes Long-Awaited Return to Guitar's Outer Limits Alongside Experimental Guitarist Henry Kaiser on The Celestial Squid Guitar summits don't ascend higher than when legendary British free-jazz pioneer and longtime session ace Ray Russell meets the brilliant California avant-improv overachiever and Antarctic diver Henry Kaiser in the realm of The Celestial Squid. An album as cosmically evocative as its title, The Celestial Squid marks both a promising new partnership and a return to the outer-limits sensibility that informed Russell's earliest work. With sixteen albums as a leader and more than countless session performances to his credit, including the early James Bond film scores, Russell is returning to his bone-rattling, noise-rocking roots for the first time since 1971. You'll be shaken and stirred as Kaiser, Russell, and eight super friends deliver a no-holds-barred, free-range sonic cage match. They evoke improvised music's past, present, and future while proving that free jazz can still be good, clean, liberating fun. Russell created some of the early '70s' most outrageously outside music. Live at the ICA: June 11th 1971 is a particularly hallmark work of guitar shock-and-awe. Russell's "stabbing, singing notes and psychotic runs up the fretboard have nothing to do with scalular architecture," wrote All Music's Thom Jurek, "but rather with viscera and tonal exploration." Russell anticipated the wildest and most intrepid vibrations of Terje Rypdal, Dave Fuzinski, Sonic Youth, Keiji Haino, Tisziji Muñoz, Alan Licht (who contributes liner notes), and their boundary-dissolving ilk.