The Jams' and the KLF's Invocation of Mu
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Entourage Effect at Finnegans Wake 1
The Entourage Effect At Finnegans Wake 1 The Entourage Effect At Finnegans Wake The Entourage Effect At Finnegans Wake. Steven James Pratt 2 The Entourage Effect At Finnegans Wake FORE WORDS Cannabis and Finnegans Wake are two of my favourite things, and I’ve been engaging with both for over twenty years. This paper pulls from, and pushes upon my experiences, and attempts to roll-it-all-up into a practical guide-cone. Not only a theoretical series of “what ifs,” but also a helpful introduction to the book and to the flower, “seedsmanchap” (FW, 221.) with luck enhancing the experience of reading and the positive effects of cannabis. If you’re already bored, scroll to the bottom and follow some of the links. Finnegans Wake (FW) for me, serves up the perfect antidote for those who do not read much these days. FW is the book for you, today. Get stuck in, light up, lighten up, there’s no right or wrong way to speak it aloud just try and make it new, explore your accents, keep it fresh. Use it as a doorstop, just go get a copy and let it grow on you. In the post-truth era of corporate-state controlled news’ media outlets, we might all use a lil’ linguistic and semantical earthquake, to shake loose the lies and dislodge the tantalizing deceits, and to rattle the vacuous gossip columns to pieces. Finnegans Wake, mixed with cannabis is my best bet, my offering, for a universal toolkit to help break on through to the other side with enough laughs and some shrieks of joy to prevent you crying yourself to sleep in depression at the state of the planet. -
Three New Acts for Northside
MC50 2018-04-17 10:00 CEST Three new acts for NorthSide The festival has found room to add Yungblud, Soleima, and a special anniversary edition of MC5 to the line-up NorthSide announced this year's festival poster with 41 primary international acts at the end of February, but the festival has still been able to add another three acts to the NorthSide 2018 line-up. MC50 The most iconic beginning to a punk song ever was delivered by Detroit's own Wayne Kramer, who in 1968 shouted "And right now ... right now ... right now it's time to ... kick out the jams, motherfuckers!" from the stage of the Grande Ballroom in Detroit. That’s how the title song from the debut album "Kick Out the Jams" by MC5 starts, which today is considered one of the most important albums from the time just before the world fell in love with Sex Pistols, Ramones, Black Flag, and The Clash. To celebrate the upcoming 50th anniversary of the groundbreaking album, Kramer has gathered a new band around him, which he calls the MC50. The band consists of the guitarist Kim Thayil from Soundgarden, Fugazi drummer Brendan Canty, King's X bassist Doug Pinnick, and Marcus Durant from Zen Guerrilla. They will this summer perform all eight songs from the debut album plus other favorites from the MC5 catalog . MC50 will play Friday June 8th at NorthSide 2018 Yungblud One of the hottest comets on the English music scene right now is Dominic Harrison, who performs under the name of Yungblud. -
Leaving Reality Behind Etoy Vs Etoys Com Other Battles to Control Cyberspace By: Adam Wishart Regula Bochsler ISBN: 0066210763 See Detail of This Book on Amazon.Com
Leaving Reality Behind etoy vs eToys com other battles to control cyberspace By: Adam Wishart Regula Bochsler ISBN: 0066210763 See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO paolocirio.net UBERMORGEN.COM ubermorgen.com ALESSANDRO LUDOVICO neural.it Page 1 discovering a new toy "The new artist protests, he no longer paints." -Dadaist artist Tristan Tzara, Zh, 1916 On the balmy evening of June 1, 1990, fleets of expensive cars pulled up outside the Zurich Opera House. Stepping out and passing through the pillared porticoes was a Who's Who of Swiss society-the head of state, national sports icons, former ministers and army generals-all of whom had come to celebrate the sixty-fifth birthday of Werner Spross, the owner of a huge horticultural business empire. As one of Zurich's wealthiest and best-connected men, it was perhaps fitting that 650 of his "close friends" had been invited to attend the event, a lavish banquet followed by a performance of Romeo and Juliet. Defiantly greeting the guests were 200 demonstrators standing in the square in front of the opera house. Mostly young, wearing scruffy clothes and sporting punky haircuts, they whistled and booed, angry that the opera house had been sold out, allowing itself for the first time to be taken over by a rich patron. They were also chanting slogans about the inequity of Swiss society and the wealth of Spross's guests. The glittering horde did its very best to ignore the disturbance. The protest had the added significance of being held on the tenth anniversary of the first spark of the city's most explosive youth revolt of recent years, The Movement. -
Razorcake Issue #82 As A
RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS. -
Principia Discordia.Pdf
RAW Intro | Omar Intro | Title Page | Index | Version Notes | INTRODUCTION You hold in your hands one of the Great Books of our century fnord. Some Great Books are recognized at once with a fusillade of critical huzzahs and gonfolons, like Joyce’s Ulysses. Others appear almost furtively and are only discovered 50 years later, like Moby Dick or Mendel’s great essay on genetics. The Principia Discordia entered our space-time continuum almost as unobtrusively as a cat-burglar creeping over a windowsill. In 1968, virtually nobody had heard of this wonderful book. In 1970, hundreds of people from coast to coast were talking about it and asking the identity of the mysterious author, Malaclypse the Younger. Rumors swept across the continent, from New York to Los Angeles, from Seattle to St. Joe. Malaclypse was actually Alan Watts, one heard. No, said another legend – the Principia was actually the work of the Sufi Order. A third, very intriguing myth held that Malaclypse was a pen-name for Richard M. Nixon, who had allegedly composed the Principia during a few moments of lucidity. I enjoyed each of these yarns and did my part to help spread them. I was also careful never to contradict the occasional rumors that I had actually written the whole thing myself during an acid trip. The legendry, the mystery, the cult grew very slowly. By the mid- 1970’s, thousands of people, some as far off as Hong Kong and Australia, were talking about the Principia, and since the original was out of print by then, xerox copies were beginning to circulate here and there. -
Democratic Citizenship in the Heart of Empire Dissertation Presented In
POLITICAL ECONOMY OF AMERICAN EDUCATION: Democratic Citizenship in the Heart of Empire Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University Thomas Michael Falk B.A., M.A. Graduate Program in Education The Ohio State University Summer, 2012 Committee Members: Bryan Warnick (Chair), Phil Smith, Ann Allen Copyright by Thomas Michael Falk 2012 ABSTRACT Chief among the goals of American education is the cultivation of democratic citizens. Contrary to State catechism delivered through our schools, America was not born a democracy; rather it emerged as a republic with a distinct bias against democracy. Nonetheless we inherit a great demotic heritage. Abolition, the labor struggle, women’s suffrage, and Civil Rights, for example, struck mighty blows against the established political and economic power of the State. State political economies, whether capitalist, socialist, or communist, each express characteristics of a slave society. All feature oppression, exploitation, starvation, and destitution as constitutive elements. In order to survive in our capitalist society, the average person must sell the contents of her life in exchange for a wage. Fundamentally, I challenge the equation of State schooling with public and/or democratic education. Our schools have not historically belonged to a democratic public. Rather, they have been created, funded, and managed by an elite class wielding local, state, and federal government as its executive arms. Schools are economic institutions, serving a division of labor in the reproduction of the larger economy. Rather than the school, our workplaces are the chief educational institutions of our lives. -
Melancholy and Loss
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Book Section Title: ‘You should try lying more’: the nomadic impermanence of sound and text in the work of Bill Drummond Creator: WisemanTrowse, N. J. B. Example citation: WisemanTrowse, N. J. B. (2014) ‘You should try lying more’: the nomadic impermanence of sound and text in the work of Bill Drummond. In: Hansen, A. and Carroll, R. (eds.) Litpop: Writing and Popular Music. Aldershot: Ashgate. pp. 157 168. It is advisable to refer to the publisher's version if you intend to cite from this work. Version: Submitted version Official URL: http://www.ashgate.com/isbn/9781472410979 NECTARhttp://nectar.northampton.ac.uk/4373/ 1 ‘You Should Try Lying More’: The Nomadic Impermanence of Sound and Text in the Work of Bill Drummond Nathan Wiseman-Trowse Imagine waking up tomorrow, all music has disappeared. All musical instruments, all forms of recorded music, gone. A world without music. What is more, you cannot even remember what music sounded like or how it was made. You can only remember that it had existed, that it had been important to you and your civilisation. And you long to hear it once more. Then imagine people coming together to make music with nothing but their voices, and with no knowledge of what music should sound like.1 Bill Drummond’s work straddles the worlds of popular music, literature and art. Drummond is perhaps best known as one half of the massively successful dance act The KLF, who scored a number of single and album chart hits across Europe in the late eighties and early nineties. -
Time & Motion Press Release
Bio information: RADIO MASSACRE INTERNATIONAL Title: TIME & MOTION (Cuneiform Rune 298-299) Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) www.cuneiformrecords.com FILE UNDER: ELECTRONIC / COSMIC MUSIC “RMI's Steve Dinsdale, Duncan Goddard, and Gary Houghton know how to coax all sorts of nuances from their machines, and they function as a live, interactive trio, with each member responding to the others' riffs and musical motifs. In a word, Radio Massacre International nail the vintage electronic music sound, but the band is simply more "nimble" than the first generation models, which greatly enhances the listening pleasure of the suitably attuned listener...if you're a musical novice unacquainted with RMI's sources, this music will serve as a stellar introduction to the form.”– Bill Tilland, All Music Guide “Frankly there isn't anyone out there doing this kind of music better… If you have a yearning for the glory days of the Berlin school, this is where you should be going.” – Spacerock.co.uk Radio Massacre International (RMI) is an electronic improvising trio that is carving out new ground in the genres of electronic space music and space rock. Composed of Steve Dinsdale (keyboards, electronics, drums), Duncan Goddard (keyboards, electronics, bass) and Gary Houghton (guitar, keyboards), the trio improvises with a mixture of vintage and modern analogue and digital equipment to create massive, shifting electronic soundscapes. Instantly recognizable, RMI’s organic, visceral, and at times rough-edged explorations in space music transport the genre popularized by Pink Floyd, Tangerine Dream, Ash Ra Tempel/Manuel Gottsching and Klaus Schulze in the 1970s into the 21st century. -
Punk: Music, History, Sub/Culture Indicate If Seminar And/Or Writing II Course
MUSIC HISTORY 13 PAGE 1 of 14 MUSIC HISTORY 13 General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number Music History 13 Course Title Punk: Music, History, Sub/Culture Indicate if Seminar and/or Writing II course 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice x Foundations of Society and Culture • Historical Analysis • Social Analysis x Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. This course falls into social analysis and visual and performance arts analysis and practice because it shows how punk, as a subculture, has influenced alternative economic practices, led to political mobilization, and challenged social norms. This course situates the activity of listening to punk music in its broader cultural ideologies, such as the DIY (do-it-yourself) ideal, which includes nontraditional musical pedagogy and composition, cooperatively owned performance venues, and underground distribution and circulation practices. Students learn to analyze punk subculture as an alternative social formation and how punk productions confront and are times co-opted by capitalistic logic and normative economic, political and social arrangements. 3. "List faculty member(s) who will serve as instructor (give academic rank): Jessica Schwartz, Assistant Professor Do you intend to use graduate student instructors (TAs) in this course? Yes x No If yes, please indicate the number of TAs 2 4. -
ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL
Bio information: ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / 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: ROCK “…the [Jim Hendrix] Experience let me know there was a spare bed in the house they were renting, and I could stay there with them– a spontaneous offer accepted with gratitude. They’d just hired it for a couple of months… …My goal was to make the music I’d actually like to listen to. … …I was clearly imagining life without a band at all, imagining a music I could make alone, like the painter I always wanted to be.” – Robert Wyatt, 2012 Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities. Until reappearing, seemingly out of nowhere, last year, the demo for “Rivmic Melodies”, an extended sequence of song fragments destined to form the first side of the second album by Soft Machine (the band Wyatt had helped form in 1966 as drummer and lead vocalist, and with whom he had recorded an as-yet unreleased debut album in New York the previous spring), was presumed lost forever. As for the shorter song discovered on the same acetate, “Chelsa”, it wasn't even known to exist! This music was conceived by Wyatt while off the road during and after Soft Machine's second tour of the US with the Jimi Hendrix Experience, first in New York City during the summer of 1968, then in the fall of that year while staying at the Experience's rented house in California, where he was granted free access to the TTG recording facility during studio downtime. -
From Crass to Thrash, to Squeakers: the Suspicious Turn to Metal in UK Punk and Hardcore Post ‘85
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by De Montfort University Open Research Archive From Crass to Thrash, to Squeakers: The Suspicious Turn to Metal in UK Punk and Hardcore Post ‘85. Otto Sompank I always loved the simplicity and visceral feel of all forms of punk. From the Pistols take on the New York Dolls rock, or the UK Subs aggressive punk take on rhythm and blues. The stark reality Crass and the anarchist-punk scene was informed with aspects of obscure seventies rock too, for example Pete Wright’s prog bass lines in places. Granted. Perhaps the most famous and intense link to rock and punk was Motorhead. While their early output and LP’s definitely had a clear nod to punk (Lemmy playing for the Damned), they appealed to most punks back then with their sheer aggression and intensity. It’s clear Motorhead and Black Sabbath influenced a lot of street-punk and the ferocious tones of Discharge and their Scandinavian counterparts such as Riistetyt, Kaaos and Anti Cimex. The early links were there but the influence of late 1970s early 80s NWOBM (New Wave of British Heavy Metal) and street punk, Discharge etc. in turn influenced Metallica, Anthrax and Exodus in the early eighties. Most of them can occasionally be seen sporting Discharge, Broken Bones and GBH shirts on their early record-sleeve pictures. Not only that, Newcastle band Venom were equally influential in the mix of new genre forms germinating in the early 1980s. One of the early examples of the incorporation of rock and metal into the UK punk scene came from Discharge. -
Svět Jiné Hudby
Zdeněk K. Slabý, Petr Slabý Kniha vychází s laskavou podporou a za finančního přispění Ministerstva kultury České republiky © Zdeněk K. Slabý, Petr Slabý, 2007 © VOLVOX GLOBATOR, 2007 ISBN 978-80-7511-183-8 Vydalo nakladatelství & vydavatelství Volvox Globator Štítného 17, 130 00 Praha 3 www.volvox.cz jako svou 781. publikaci Obálka a grafická úprava Karel Haloun Odpovědný redaktor Ondřej Sýkora E-knihahttps://purehtml.cz Vydání první, Praha 2007 Adresa knihkupectví Volvox Globator: Štítného 16, 13000 Praha 3-Žižkov Předmluva aneb Alternativní verze doslovu Na počátku mé práce na tomto dílu Světa jiné hudby byla dvě slova. A ta slova byla Sun Ra. O něm jsem místopřísežně v nejrůznějších médiích slíbil, že ve druhém dílu napíšu stěžejní článek, a vrátilo se mi to jako bumerang. Toho jsem tedy dosáhl, i když by si tento zcela zásadní muzikant zasloužil celou knihu o několika tisících stránek. Přesto studium jeho odkazu pro mě znamenalo otevření dalších dimenzí pro další bádání a pochopení zcela nových věcí. Řada textů vznikla díky možnosti navštívit některé věhlasné světové festivaly, které se věnují alternativní hudbě a neberou ji jako okrajovou záležitost, ale šanci pro poznávání současných trendů. Byla to příležitost blíže poznat řadu umělců a v neposlední řadě pochopit fakt, že takzvaná „alternativa“ je otevřena každé vstřícné duši. A věřte, že na tyto akce v Rakousku či Francii chodí číratí punkáči i zasloužilí důchodci v oblecích a vytváří společnou komunitu lidí, kteří v jakémkoliv věku hledají nové impulsy a mají mnoho společného - totiž právě ono hledání. Tímto bych chtěl poděkovat jejich organizátorům. Opět se čtenáři i kritici budou ptát, proč zde to a tohle zrovna chybí, i když je to trendy nebo klasika nos plus ultra, a proč jsou zde zastoupeni relativně marginální muzikanti či soubory a proč zde relativně malý prostor dostala tentokrát domácí scéna.