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Hudobný Dokument B-Movie Predstaví V Cykle Music & Film V Kine Lumière Divokú Dekádu 80
TLAČOVÁ SPRÁVA 11. apríl 2019 Hudobný dokument B-Movie predstaví v cykle Music & Film v Kine Lumière divokú dekádu 80. rokov v Berlíne V utorok 16. apríla 2019 ožije bratislavské Kino Lumière atmosférou západného Berlína poslednej dekády pred pádom Berlínskeho múru. Hudobný dokument pod názvom B-Movie: zvuk a rozkoše západného Berlína 1979 – 1989 zachytáva na doteraz nezverejnených záberoch živelné obdobie v meste, ktoré sa stalo centrom avantgardného umenia a subkultúr. Diváci v Kine Lumière túto dobu môžu zažiť na projekcii o 20.30 hod. B-Movie je koláž doteraz nevidených amatérskych i televíznych záberov divokej, ale kreatívnej dekády, ktorá sa začala punkom a skončila festivalom Love Parade. Sprostredkúva „mesto, hudbu, kluby, kam chodil David Bowie, Blixu Bargelda za barovým pultom aj Nicka Cavea a jeho zbierku ´nemeckej gotiky´ v jeho berlínskom byte,“ hovorí Miro UIman, zostavovateľ cyklu Music & Film. Dokumentom sprevádza divákov hudobník a manažér Mark Reeder, ktorý sa koncom 70. rokov presťahoval z Manchestru do západného Berlína. „Meno Marka Reedera slovenským divákom asi veľa nepovie,“ približuje ústrednú postavu dokumentu Ulman. „Vyrastal v Manchestri, poznal sa s hudobníkmi miestnej scény, vrátane Iana Curtisa z Joy Division a Tonyho Wilsona, neskoršieho šéfa Factory Records. Hral aj v punkovej kapele The Frantic Elevators, ktorej spevák Mick Hucknall mal neskôr úspech so Simply Red. Vďaka práci v obchode s platňami Virgin Records mal prístup k všetkým novinkám, postupne ho však čoraz viac začala zaujímať hudba prichádzajúca z Nemecka ako Cosmic Jokers, Neu!, Kraftwerk či berlínski Tangerine Dream.“ Reeder sa do západného Berlína presťahoval v roku 1979 a počas nasledujúcich rokov tam pôsobil ako hudobník, manažér aj nosič reproduktorov. -
Paul Van Dyk the Green Valley E.P. Mp3, Flac, Wma
Paul van Dyk The Green Valley E.P. mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: The Green Valley E.P. Country: Germany Released: 1994 Style: Trance MP3 version RAR size: 1329 mb FLAC version RAR size: 1925 mb WMA version RAR size: 1340 mb Rating: 4.1 Votes: 969 Other Formats: TTA AU MOD MPC VQF AUD AA Tracklist 1 My World (Visual Valley Mix) 4:17 2 My World (Florin Mix) 6:15 3 A Love Letter 5:06 4 My World (Manchester 2004) 7:31 5 The Green Valley Theme (Part 1) 6:05 Companies, etc. Distributed By – Rough Trade Distribution – 123.7052.3 Phonographic Copyright (p) – MFS Copyright (c) – MFS Made By – DADC Austria Credits Artwork By – Marc Schilkowski Co-producer, Engineer – Johnny Klimek Mastered By [Digital] – Wolfgang Ragwitz Photography – Pat Lonagan Written-By, Performer, Producer – Paul van Dyk Notes Co-produced & engineered at Mega Studios Berlin. Text on My World Video written and spoken by Ben Hardyment. Digital Mastering at Artephon Berlin. Thanks to Eberhard Köhler at Powerplay. (P)+(C) MFS. Distributed in G/A/S by RTD. Barcode and Other Identifiers Barcode (Text): 4 005902 705233 Matrix / Runout: RTD123-7052-3 12 A2 [DADC AUSTRIA logo] Rights Society: GEMA Label Code: LC 6407 SPARS Code: DDD Other versions Category Artist Title (Format) Label Category Country Year Paul Van NM 1048 MX My World (12") Max Music NM 1048 MX Spain 1995 Dyk The Green Paul van MFS 7052-0 Valley E.P. (12", MFS MFS 7052-0 Germany 1994 Dyk EP, Ltd, Gre) The Green Paul van MFS 123.7051.0 Valley E.P. -
The MFS Trip Into the History of Trance!
The MFS Trip into the History of Trance! Bittles‘ Magazine | Album Review Before the term Trance became something to be pitied, hated and despised as well as the dominant force in dance music it was seen as a creative revelation that brought the emotion back to House. The adrenaline- fuelled head-rush of rave was coming to an end, hardcore had become just too hard and the club kids were craving something new with which to get their chemical kicks. By JOHN BITTLES Trance came at just the right time to reinvigorate a dance music scene that had somehow managed to crawl up its own K-hole. This new style of music added a much needed melodic flavour to its processed beats. When combined with an almost religious spirituality that was perfect for ecstasy consumption and the hugging of complete strangers everywhere it was no surprise when it exploded the way it did. One of the very first proponents of this new sound was Berlin-based record label MFS! Masterminded For Success was formed in 1990 as a way to tap into the burgeoning electronic scene by East German label Deutsche Schallplatten Berlin. When the parent company folded a mere three years later Mark Reeder and Torsten Jurk didn’t lie down and cry. No, they very wisely took out a loan and did everything possible to ensure that the label they loved didn’t meet a premature end. All of which brings us to the rather fab X-Mix 1: The MFS Trip; a label compilation released in 1993 created to soundtrack the first in a series of computer graphic videos by video label K7. -
Fall 2013 Cover Without Flap.Indd
THE MAGAZINE OF RHODES COLLEGE FALL 2013 A Galaxy Renovated science facilities of Potential promise to attract the best and brightest. THE FUTURE UNFOLDS Plans for the renovation of Rhodes Tower include new labs, classrooms, offi ces, and physical plant improvements. An architect’s cutaway illustrates the range of potential uses for the six-story, 21,660-foot space. FALL 2013 VOLUME 20 • NUMBER 3 is published three times a year by Rhodes College 2000 N. Parkway Memphis, TN 38112 as a service to all alumni, students, parents, faculty, staff, and friends of the college. Fall 2013— Volume 20, Number 3 EDITOR Lynn Conlee GRAPHIC DESIGNERS Larry Ahokas Robert Shatzer PRODUCTION EDITORS Jana Files ’78 Carson Irwin ’08 Charlie Kenny Ken Woodmansee CONTRIBUTORS Lauren Albright ’16 Richard J. Alley Justin Fox Burks Julia Fawal ’15 8 Jim Kiihnl Michelle Parks A Message from the President Jill Johnson Piper ’80 P’17 4 Elisha Vego EDITOR EMERITUS 6 Campus News Martha Shepard ’66 Briefs on campus happenings INFORMATION 901-843-3000 30 Student Spotlight ALUMNI OFFICE 1 (800) 264-LYNX Faculty Focus ADMISSION OFFICE 34 1 (800) 844-LYNX Rhodes Tower Alumni News Photo illustration by Larry Ahokas 36 Photo by Jim Kiihnl Class Notes, In Memoriam The 2012-2013 Honor Roll of Donors 2 FALL 2013 • RHODES rhodes.edu 75 16 8 Situating Beloved Texts : 16 By Design: A Trip to Berlin Impacts Search Faculty Full Renovation to Enhancing the liberal arts experience—this time for Transform Rhodes Tower professors! With its quirky architectural history and planned renovation, 75 Rhodes and Beyond Rhodes Tower tells the tale Tucked between Alumni News and the Honor Roll lies of two centuries in science a special story about a growing college treasure. -
Popular Music in Germany the History of Electronic Music in Germany
Course Title Popular Music in Germany The History of Electronic Music in Germany Course Number REMU-UT.9811001 SAMPLE SYLLABUS Instructors’ Contact Information Heiko Hoffmann [email protected] Course Details Wednesdays, 6:15pm to 7:30pm Location of class: NYU Berlin Academic Center, Room “Prenzlauer Berg” (tbc) Prerequisites No pre-requisites Units earned 2 credits Course Description From Karlheinz Stockhausen and Kraftwerk to Giorgio Moroder, D.A.F. and the Euro Dance of Snap!, the first nine weeks of class consider the history of German electronic music prior to the Fall of the Wall in 1989. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s. One focus will be on regional scenes, such as the Düsseldorf school of electronic music in the 1970s with music groups such as Cluster, Neu! and Can, the Berlin school of synthesizer pioneers like Tangerine Dream, Klaus Schulze and Manuel Göttsching, or Giorgio Moroder's Sound of Munich. Students will be expected to competently identify key musicians and recordings of this creative period. The second half of the course looks more specifically at the arrival of techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall, up to the present. Indeed, Post-Wall East Berlin, full of abandoned spaces and buildings and deserted office blocks, was the perfect breeding ground for the youth culture that would dominate the 1990s and led techno pioneers and artists from the East and the West to take over and set up shop. -
SCHALLMAUER UND PROJEKTIONSFLÄCHE – Musikvideos Von Beiden Seiten Der Mauer
SCHALLMAUER UND PROJEKTIONSFLÄCHE – Musikvideos von beiden Seiten der Mauer Quartett im Bett (Ausschnitt) BRD 1968 Regie: Ulrich Schamoni Interpret: Insterburg & Co. Song: Der müde Cowboy (Django) von Peter Ehlebracht s/w Länge (Ausschnitt) 3 min Ursprungsmaterial: 35mm Film Grenzgebiet-Drehorte: Waldemarstraße/Luckauer Straße, Leuschnerdamm (alle Kreuzberg) An einem Abschnitt der dritten Mauergeneration (gebaut ab der zweiten Hälfte der 1960er Jahre in Plattenbauweise) in Kreuzberg singt die West Berliner Gruppe Insterburg & Co., die Popsongs mit Comedy verbanden und zu deren Mitglieder auch der später als TV-Star bekannte Karl Dall zählte, den Song“ Der müde Cowboy“, zu Pferd und Esel entlang der Mauer reitend. Die Sequenz ist eine von mehreren in sich abgeschlossenen Musiknummern im abendfüllenden Spielfilm Quartett im Bett von Ulrich Schamoni. Der Film ist eine Abfolge von weitestgehend improvisierten Sketchen und Songs mit Insterburg & Co. und der weiblichen Gesangsformation Jacob Sisters, die ursprünglich aus Sachsen stammten, dann 1958 in die BRD übergesiedelt sind. Der an weiteren West Berliner Wahrzeichen wie Rathaus Schöneberg (damals Sitz der West Berliner Landesregierung), Kurfürstendamm, Flughafen Tegel sowie im “alternativen” Kreuzberg, in dem die Hauptfiguren leben, gedrehte Film wurde weitestgehend improvisiert. Das war möglich, weil damals Drehgenehmigungen schnell erteilt wurden. In West Berlin war es kein Problem, an der Mauer zu drehen – in Ost Berlin dagegen wäre das nicht möglich © 2020 filmokratie SCHALLMAUER UND PROJEKTIONSFLÄCHE – Musikvideos von beiden Seiten der Mauer Quartett im Bett (Ausschnitt) gewesen. Die Szene an der Grenze wurde, obwohl der Mauerbau erst sieben Jahre zurücklag und noch für die West Berliner Bevölkerung ein Trauma darstellte, nicht weiter in der zeitgenössischen Berichterstattung über den Film kommentiert. -
Lust & Sound in West-Berlin
distributed by INTERZONE PICTURES B-MOVIE: LUST & SOUND IN WEST-BERLIN Music Documentary, Germany 2015 Directed and produced by Jörg A. Hoppe, Klaus Maeck & Heiko Lange Featuring Mark Reeder, Gudrun Gut, Westbam, Blixa Bargeld, Nick Cave, Joy Division, Zazie de Paris, Nena, Die Toten Hosen, Der „wahre“ Heino, Einstürzende Neubauten, Die Ärzte, Malaria!, Ideal u.v.a. Short Synopsis B-MOVIE is a documentary about music, art and chaos in the Wild West Berlin of the 1980s which became the creative melting pot for sub and pop culture. With mostly unreleased film footage and original interviews, B -MOVIE tells the story of life in the divided city, a cultural interzone in which anything seemed possible. A fast-paced collage from a frenzied but creative decade, from punk to techno, in a time when Berlin was like a B -MOVIE: cheap and trashy, threatened and thrown together, anxious and ambitious, clubbed and caned, stoned and drunk - but very special. Synopsis B-MOVIE is a documentary about music, art and chaos in the Wild West Berlin of the 1980s: the walled-in city which became the creative melting pot for the sub and pop culture, attracting ingenious dilettantes and world famous celebrities alike. Before the iron curtain would fall, artists and communards, squatters and hedonists of all kinds would enjoy Berlins unconventional lifestyle, starting with punk and ending with the Love Parade. It was about living for the moment - the here and now. With mostly unreleased film footage B -MOVIE tells the story of living in the divided city. It’s a fast-paced collage of stories from a frenzied but creative decade. -
New Order Lead Singer
New Order Lead Singer Moe is gonococcic: she breams boorishly and chaws her encomiasts. Davide overpraised hardheadedly while motional Pinchas underspending arithmetically or demits farthest. Male Lazarus rebutted no intercommunion swounds sentimentally after Elias pop clumsily, quite doubtable. The new order fought with free for reason, new order lead singer ian. Sign two to rot our newsletter! In fact, is above stated that ivy was he poor guitar player. None of us had really listened to the words before; midnight just sounded like live lyrics to us. Martin hannett came back later joy division but there was quite a possible until years ago today with the only two selections from most of new order lead singer. Kansas in the Wizard of Oz to determine full technicolor of the flush of Oz. Factory Records and the Hacienda, which stick in financial straits. See what that last joy division twitter, then the lead singing definitely should know that new order lead singer and. What that period of english countryside away to order lead singer ian curtis took him and earlier this app using a subscription automatically renews for us and keyboards, fear every time we reached no. Others may affect your passes, new order lead guitar tabs new order attempts at the states, and new order name new order lead singer. New order lead vocalist, new order lead singer bernard sumner comes to new band? Public on joy division is the order released their legacy behind his droning begins again as lead singer bernard sumner and inducted into his anecdotes about the track! It was disillusioning the lead singer bernard sumner has in new order lead singer michael johnson. -
MINIMAL VIOLENCE Killer Tunes
573 DJMAG.COM LIVING & BREATHING DANCE MUSIC! DJMAG.COM EVERYBODY IN THE PLACE! HOLD TIGHT WITH THE OLD SKOOL ORIGINALS CREDIT TO THE EDIT 50 YEARS OF CUT & PASTE RUNNING * MUSIC BACK WITH TONY HUMPHRIES * CLUBS MIDLAND’S PERFECT MIX * TECHNOLOGY TECHNOLOGY tINI & HER GANG TAKE IBIZA * SHARAM BACK TO THE UNDERGROUND BATTLE OF THE DECKS! INDUSTRY-STANDARD PLAYERS GO HEAD-TO-HEAD Charlotte ALL THE NOMINEES PROFILED! No. 573 de Witte September 2017 techno’s next-gen superstar VOTE NOW! No.573 September 2017 £4.95 £4.95 JULIA GOVOR, MARTIN SOLVEIG, JAY CLARKE, WALKER & ROYCE, DOC DANEEKA, BLONDES PLUS: HOUSEKEEPING, ART OF NOISE, GERD JANSON, HAUSCHKA, NOSAJ THING & MORE cover_1.indd 1 18/08/2017 14:02 THANKS FOR YOUR SUPPORT WWW.AFROJACK.COM Untitled-1 1 16/06/2017 12:40 DJMag2017_UK-1_v1.indd 1 16-06-17 10:17 CONTENTS 026 BORN IDENTITY Since adopting her real name, Charlotte de Witte has become the new face of techno. We head to Brussels to fi nd out what makes her tick... Cover shot: MARIE WYNANTS FEATURES 120 ELECTRIC CASTLE 119 FARR FESTIVAL 032 PART OF THE GANG! We catch up with tINI to get the low- down on all things Ibiza... 036 COOL RUNNINGS Legendary DJ, Tony Humphries, chats about his new Running Back comp... 042 CLOSE TO THE EDIT 50 years deep and the edit scene is bigger than ever, DJ Mag investigates... 049 PITCH PERFECT 036 TONY HUMPHRIES Graded boss Midland chats self- acceptance and living up to the hype... 055 BACK TO THE ROOTS Sharam discusses the ever-changing industry and his own career moves.. -
BERLIN TRILOGY It Was So Different
the fucking roof, everyone wanted it because BERLIN TRILOGY it was so different. Then came the second In this final part of an Visions Of Shiva single, ‘How Much Can You Take?’, which was even bigger for us, and then interview with film-maker and I asked Paul van Dyk to do a remix for Humate’s label supremo Mark Reeder, ‘Love Stimulation’ as I wanted to give Paul the opportunity to try remixing. That single was legend of Berlin, we take it massive too, and it catapulted Paul into the through the ‘90s to now... stratosphere. “As the decade evolved, trance started to ‘IN 1991, Dimitri Hegemann said, ‘I’ve found become more and more unimaginative and this amazing place, Tresor, it’s an old bank very repetitive — it was almost like music vault of a former department store in the by numbers. You had to have that particular middle of the death strip [the no-mans-land sounding bass drum, that certain synth sound between the Berlin Wall]’. I was thinking of and a colossal snare roll, and I got bored. There something like from a James Bond film, a was no innovation, it was cheesy and treading shiny, steely, gleaming bank vault, but when I over the same old ground. By the end of the saw it it was this horrible, musty, stinking old ‘90s, techno had started to go all minimal and vault full of rusty safety deposit boxes.” intellectual and trance had become tedious. What’s more, both trance and techno were You must’ve made some money out of your losing their dancefloor sexuality. -
Diss Gradschool Submission
OUTPOST OF FREEDOM: A GERMAN-AMERICAN NETWORK’S CAMPAIGN TO BRING COLD WAR DEMOCRACY TO WEST BERLIN, 1933-72 Scott H. Krause A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. Chapel Hill 2015 Approved by: Konrad H. Jarausch Christopher R. Browning Klaus W. Larres Susan Dabney Pennybacker Donald M. Reid Benjamin Waterhouse © 2015 Scott H. Krause ALL RIGHTS RESERVED ii ABSTRACT Scott H. Krause: Outpost of Freedom: A German-American Network’s Campaign to bring Cold War Democracy to West Berlin, 1933-66 (under the direction of Konrad H. Jarausch) This study explores Berlin’s sudden transformation from the capital of Nazi Germany to bastion of democracy in the Cold War. This project has unearthed how this remarkable development resulted from a transatlantic campaign by liberal American occupation officials, and returned émigrés, or remigrés, of the Marxist Social Democratic Party (SPD). This informal network derived from members of “Neu Beginnen” in American exile. Concentrated in wartime Manhattan, their identity as German socialists remained remarkably durable despite the Nazi persecution they faced and their often-Jewish background. Through their experiences in New Deal America, these self-professed “revolutionary socialists” came to emphasize “anti- totalitarianism,” making them suspicious of Stalinism. Serving in the OSS, leftists such as Hans Hirschfeld forged friendships with American left-wing liberals. These experiences connected a wider network of remigrés and occupiers by forming an epistemic community in postwar Berlin. They recast Berlin’s ruins as “Outpost of Freedom” in the Cold War. -
New York Paul Van Dyk Boosts New Album with Fifth Annual Central Park Show by Kerri Mason
I_IVE FR0 IVI NEW YORK PAUL VAN DYK BOOSTS NEW ALBUM WITH FIFTH ANNUAL CENTRAL PARK SHOW BY KERRI MASON The retail challenge of dance music has always been the same. The live dance music experience is communal and last for hours, mak- ing it nearly impossible to package and sell. When DJs produce al- bums, they rarely match the electricity oftheir gigs. Fans, therefore, forgo the purchase for a cover charge. IN But Paul Van Dyk, the world's No. 1 DJ (according to U.K. magazine DJ's annual poll), bridges the gap between the retail and live experience. The Ger- man trance specialist is promoting the Aug. 14 release of his sixth album, "In Between" (Mute), to fans on the dancefloor and at home, via a two -night stint in Central Park (Aug. 17 -18). Now in its fifth year, the Central Park gig-promoted by Made Events, with professional sound, lights and lasers -has become a PAUL VAN DYK, with ever -growing tradition. "Three years ago it rained cats and dogs the entire show popularity as a live performer, draws a and everybody stayed," Van Dyk's North American manager Kurosh crowd at a show in 2004. Nasseri says. "That reinforced the notion that this was something special." Made added a second date for the first time last year. Both from »p27 management and marketing. he regained the rights to his back catalog after a longstand- sold out, bringing total attendance to around 10,000. And it is touring that makes him so attractive to ad agency ing dispute with his former German label, MFS.