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Grapevine 16 2008 Online.Pdf 2 | REYKJAVÍK GRAPEVINE | ISSUE 16—2008 TABlE oF CoNTENTS EDIToRIAl MASThEAD I think I speak for everyone here when I write this: The Reykjavík Grapevine HOLY FUCK! The last few weeks have wrecked Vesturgata 5, 101 Reykjavík Articles more havoc on this country than anything that’s www.grapevine.is not directly caused by a natural disaster. Our [email protected] Getting More seriouS economy has been reduced to the standards East- Published by Fröken ehf. 06 Director Óskar Jónasson on his latest offspring Reykjavík-Rotterdam ern Europe at end of the Cold War. As a nation, we are more or less bankrupt. Editorial: CluTure Of Waste Credit crunch. It almost has nice ring to it, +354 540 3600 / [email protected] 06 A New Yorker Gives her point of view doesn’t it? Sounds like it could be a cereal brand Advertising: rather than the end of an era. Currency crisis. It’s +354 540 3605 / [email protected] Blades oF Glory a little alarming, but still. Cancel Christmas. Now, Publisher: 08 Iceland is fast becoming an international hockey powerhouse that is a serious statement, but right now, it seems +354 540 3601 / [email protected] to be the only viable option we have. Bomb IT! Thousands of people will be affected by Publisher: 08 A Lesson in Graffiti Culture from Director Jon Reiss this crisis, both in Iceland and abroad. Homes are Hilmar Steinn Grétarsson / [email protected] facing unemployment; unbearable mortgage pay- Editor: More Monsters and Mythical Beings ments, inflation and massive disruption to daily Sveinn Birkir Björnsson / [email protected] 10 Miklabæjar-Sólveig life caused the uncertainty of the situation. I keep Assistant Editor: hearing that this is not the time to assign blame or Haukur S. Magnússon / [email protected] ThE CouChSurfing CulTure look for culprits, but I don’t agree. I want to… nay Contributing Writers: 10 The ultimate social networking site owes its existence to Iceland – I need to – see someone hang for this. Páll Hilmarsson / [email protected] But there is not much we can do at this point. Valur Gunnarsson / www.myspace.com/valurgunnarsson HOw To Succeed in Modern Business Except try our best to forget about the whole thing Ben H. Murray / [email protected] 11 Lesson from the Icelandic Voyage and party like there is no tomorrow, which at this Editorial Interns: point seems like a possible outcome. Luckily, Ice- Desiree Andrews / [email protected] A 13Th Century Rebel land Airwaves is just around the corner. Florian Zühlke / [email protected] 12 Examining the politics of Snorri Sturluson I’ll see you there. I’ll be the guy at the end of James Crugnale / [email protected] the bar, counting his last krona and crying into his Marcus Walsh / [email protected] DesertificatioN way uP North beer. Sigurður Kjartan Kristinsson / [email protected] 16 Brant Bjork and the Bros. concert review Stevie Ward / [email protected] Art Director: Life WIll NEver SuCk Hörður Kristbjörnsson / [email protected] 17 Skátar concert review Design: Jóhannes Kjartansson / www.joi.is Spam Alert! Photographer: 18 Icelandic criminals may try to defraud you Gunnlaugur A. Sigurðsson (GAS) / [email protected] Marketing Director: Icelandic fish in All its Forms Jón Trausti Sigurðarson / [email protected] 19 Say hello to your new diet Sales Director: Aðalsteinn Jörundsson / [email protected] 32C Distribution: 20 Airwaves artist to watch Vigdís Jónsdóttir / [email protected] Proofreader: Direct and brutal Macbeth Jim Rice 23 Bring out your dead! ThE COVER Press releases: [email protected] Submissions inquiries: Features [email protected] Subscription inquiries: ThE SkEletoN ECoNomy +354 540 3605 / [email protected] 14 During a two week period our ecconomy was reset to the Stone Age General inquiries: . [email protected] ThE last great depressioN 15 The Laissez-faire dream is over. Founders: Hilmar Steinn Grétarsson, Hörður Kristbjörnsson, Jón Trausti Sigurðarson, Oddur Óskar Kjartansson, Destinations Valur Gunnarsson The Reykjavík Grapevine is published 18 times a year Akureyri by Fröken ltd. Monthly from November through April, 42 A day trip to Iceland´s second city and fortnightly from May til October. Nothing in this magazine may be reproduced in whole or in part A trip To ThE SouTh Coast without the written permission of the publishers. The 44 Why it should be your next destination Cover IllustratioN Reykjavík Grapevine is distributed around Reykjavík, Köddi Hristbjörns Akureyri, Egilsstaðir, Selfoss, Keflavík, Ísafjörður and at British prude To Icelandic Nude ASSISTANCE key locations along road #1, and all major tourist attrac- 45 A visit to Sundhöll Jói Kjartans tions and tourist information centres in the country. Siggi Eggertsson You may not like it, but at least it's not sponsored. (No articles in the Reykjavík Grapevine are pay-for articles. The opinions expressed are the writers’ own, not the advertisers’). Printed by Landsprent ehf. in 30.000 copies. CoMIC STRIP BY LÓA HJÁLMTÝSDÓTTIR SPJARAÐU ÞIG ESTER 19.990 ISK EYGLÓ 24.990 ISK CINTAMANI DOWN JACKETS THE ICELANDIC CINTAMANI DOWN JACKETS IS YOUR CENTRAL HEATING THIS WINTER. LOWER YOUR HEATING BILL AND GET A CINTAMANI DOWN JACKET. LIGHT AND COMFORTABLE WITH 95% PUREDOWN. WWW.CINTAMANI.IS EGILL 24.990 ISK CINTAMANI AUSTURHRAUN 3, 210 GARÐABÆ, TEL: 533 3800 - CINTAMANI CENTER LAUGAVEGI 11, 101 REYKJAVIK, TEL: 517 8088 4 | REYKJAVÍK GRAPEVINE | ISSUE 16—2008 lETTERS Sour Grapes Say YouR pIece, voIce YouR opInIon, SenD YouR Letters To [email protected] oR TexT +354 893 9589 I was very interested to read the article DUDE ARE BANKS STILL IN CONTROL? published in the March edition regard- I am reading some crazy stuff :( ing racism in Iceland. I moved to Iceland How are things? from the UK 13 months ago and left after 10 months. During that time I worked in Anthony Johnson a highly professional and well regarded capacity and dutifully payed my taxes. Dear Anthony, I did make an inital effort to learn the To be honest, I don’t really have any idea. language but recieved several dispiriting None of us do. We are all pretty much at a setbacks very early on that has reduced loss here, and in more ways than one. my enthusiasm. I find Icelanders initially very friendly but only to a point and it That said, things are fine – life is good. seems impossible to pass this point. The weather today was beautiful, I just Whenever i have tried to use Icelandic stole the new Jesu EP off some blog and my pronounciation has intentionally or us at the office also figured out that even unintentionally not been understood if everything goes to hell, we still have and several times I have been asked why enough fish, sheep and potatoes around I dont just speak english! I find Iceland to feed the 300.000 of us for a long, long very insular and the views of many of its time. inhabitants discriminatory. I have been especially disappointed with treatment So let’s celebrate and have us some of polish immigrants who seem to be drinks, yeah? blamed for all that is wrong in Icelandic society. In the UK we have a long proud tradition of integrating other nationali- ties and cultures and I feel that Iceland Hey Grapevine! has some learning and growing up to do before it can be included in a modern First, let me thank you for running such Europe. Of course this is not everybody, an excellent publication. I have been as I have met and worked with some fan- visiting your country on and off for the tastic Icelandic people whom I hope to past decade, and I can proudly say I’ve keep in touch with. My views expressed been following you guys since your first here refer to the society as a whole and issue. It’s proven a tremendous resource in no way reflect my opinion of individu- on what’s going on over there and has als. helped me make some great choices when it comes to travel and nightlife Many thanks for allowing me to voice my (thanks for the Greenland tip, BTW). opinion. Your web-site is also looking swell these days. Regards Simon Fayers The reason I write you now is to enquire whether I can submit an article for print Greetings Simon, in the paper. I have been keeping exten- Thank you for your informative letter. It’s sive travelouges of my visits, and some also good to hear you paid your taxes. of them are pretty funny if I say so my- Maybe they will help in subsidizing the self. Do you take reader submissions? Do black hole of debt some of our well-mean- you pay for them? Can I be a part of your ing billionaire playboys have plunged us team? into. Sincerely, Your points on racism are also welcomed. Stephen Lewis It is kind of amusing to read so many grand statements about an entire nation Dear Stephen, of people in a letter denouncing racism. Thank you for your kind and encouraging Reykjavík But I digress. There are some real pricks words. We try our best to make the paper floating around downtown, and I am as good as possible, and sometimes we sorry to hear you had to confront some succeed. It’s good to know you’re paying Welcome Card of them. So, on behalf of my bankrupt na- attention. tion, I apologize. Enjoy the Thermal Pools, Museums, Of course we welcome and encourage It was good to have you. any and all reader submissions. Just Public Transport and discounts. send whatever’s on your mind to editor@ grapevine.is - and that goes for the rest of you as well.
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  • Yoko Ono's Performance Art,” Intersections 10, No
    intersections online Volume 10, Number 1 (Winter 2009) Whitney Frank, “Instructions for Destruction: Yoko Ono's Performance Art,” intersections 10, no. 1 (2009): 571-607. ABSTRACT What is currently known as “destruction art” originated in the artistic and cultural work of avantgarde art groups during the 1960s. In the aftermath of World War Two, the threat of annihilation through nuclear conflict and the Vietnam War drastically changed the cultural landscapes and everyday life in the United States, Asia, and Europe. In this context, “destruction art” has been situated as the “discourse of the survivor,” or the method in which the visual arts cope with societies structured by violence and the underlying threat of death. Many artists involved in destruction art at this time were concerned with destroying not just physical objects, but also with performing destruction with various media. By integrating the body into conceptual works rather than literal narratives of violence, artists contested and redefined mainstream definitions of art, social relations and hierarchies, and consciousness. Yoko Ono, who was born in Tokyo in 1933 and began her work as an artist in the late 1950s, addresses destruction through conceptual performances, instructions, and by presenting and modifying objects. Ono’s work is not only vital to understanding the development of the international avant garde, but it is relevant to contemporary art and society. Her attention to the internalization of violence and oppression reflects contemporaneous feminist theory that situates the female body as text and battleground. By repositioning violence in performance work, Ono’s art promotes creative thinking, ultimately drawing out the reality of destruction that remains hidden within the physical and social body.
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  • Masters Thesis
    http://researchcommons.waikato.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis. A MUSICOLOGICAL ANALYSIS OF NATURE’S BEST A thesis submitted in fulfillment of the requirements for the degree of Master of Arts at The University of Waikato by NICHOLAS BRAAE The University of Waikato 2012 Abstract Academic research on New Zealand popular music has primarily been conducted from historical and cultural perspectives. While asking important questions, these sources have rarely engaged with the musical details of New Zealand popular music. This thesis is a musicological analysis of the 100 songs from the three Nature’s Best albums. The musical perspective complements the socio-cultural research on New Zealand popular music. The Nature’s Best project was instigated by Mike Chunn in 2001 to celebrate the 75th anniversary of the Australasian Performing Right Association (APRA). All songwriting members of APRA and 100 celebrities and critics were invited to vote for their ten favourite New Zealand popular songs.
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