DOCSLIB.ORG

Notes on Deconstructing Popular Music (Studies): Global Media and Critical Interventions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Notes on Deconstructing Popular Music (Studies): Global Media and Critical Interventions NOTES ON DECONSTRUCTING POPULAR MUSIC (STUDIES): GLOBAL MEDIA AND CRITICAL INTERVENTIONS February 19-21, 2015 University of Louisville iaspm-us.net IASPM-US 2015 CONFERENCE HOSTED BY The University of Louisville Commonwealth Center for Humanities and Society Aaron Jaffe, Director College of Arts & Sciences Kimberly Kempf-Leonard, Dean Liberal Studies Project John Hale, Director Women’s and Gender Studies Department Nancy Theriot, Chair Department of English Glynis Ridley, Chair University Libraries Bob Fox, Dean Bruce Keisling, Associate Dean Latin American and Latino Studies Program Rhonda Buchanan, Director LGBT Center Brian Buford, Director Endowed Chair in Rhetoric and Composition Bruce Horner, Professor of English Louisville Underground Music Archive Carrie Daniels, Director The Muhammad Ali Center Donald E. Lassere, President Marcel Parent, Senior Director of Education, Outreach, and Curation 2 WITH SPECIAL THANKS TO OUR COMMUNITY PARTNERS ARTxFM Radio Decca Guestroom Records Kentucky Museum of Art and Craft The New Vintage The Other Side of Life 3 IASPM- US PRESIDENT’S ADDRESS On behalf of the United States Branch of the International Association for the Study of Popular Music, I welcome you to our 2014 conference, “Notes On Deconstructing Popular Music (Studies): Global Media And Critical Interventions.” This year’s conference is hosted by a consortium of departments and programs at the University of Louisville, in conjunction with the Muhammad Ali Center. In the tradi- tion of the Louisville native who has spent a lifetime living up to his honorific, “the Greatest,” we will gather to reaffirm our collective creed: that popular music studies, though it may seem to float like a butterfly, can, when done right, sting like a bee. This year’s conference is inspired by the foundational work and recent passing of intellectual pioneer Stuart Hall, whose 1981 “Notes on Deconstructing the Popular” inspired its title. As the pro- gram shows, a great diversity of scholars from a wide range of disci- plines are coming together under the proposition that popular music studies is, above all, a subset of cultural studies. For Hall, the study of popular culture had to be political; otherwise, he concluded, “to tell the truth, I don’t give a damn about it.” This year’s program highlights the multifarious, global politics of popular music; in addition to two sessions considering the implications of Hall’s legacy for contemporary popular music studies, we will hear about musical politics from Deborah R. Vargas, the last winner of the IASPM-US Woody Guthrie Prize, and from past President Barry Shank, whose latest book, The Political Force of Musical Beauty, harmonizes, yes, beautifully with Hall’s circumscription of our common project. I would like to acknowledge the incredibly hard work of Ali Colleen Neff and Justin D Burton, who co-chaired this year’s program committee, collaboratively developed the conference theme, and re- cruited the rest of the members whose group effort shaped the chal- lenging program your most excellent submissions have made possi- ble: Rebekah Farrugia (Oakland University; Secretary of IASPM-US), Luis-Manuel Garcia (Freie Universität Berlin), Anthony Kwame Harrison (Virginia Tech), Nadine Hubbs (University of Michigan), Elizabeth Lindau (Earlham College), Larisa Mann (New York University), Shana 4 Redmond (University of Southern California and Ella Baker Visiting As- sociate Professor of Black Studies at the University of California, Santa Barbara), and Barry Shank (Ohio State University). We all owe a huge debt of gratitude to Diane Pecknold (University of Louisville), who in addition to her duties as Vice-President of the Society, took on respon- sibility for local arrangements, along with her co-chair Kyle Barnett (Bellarmine University), and with the support of Harley Ferris, Tracy Heightchew, and Aaron Jaffe. The arrangements for this year’s confer- ence took place under unusual time pressure, and it is thus even more impressive than usual how elegant and fun-packed our schedule will be. As you enjoy the full menu of talk, music, and (yes!) dancing, do remember to thank your hosts. For those attendees who are not members of IASPM-US, we encourage you to visit our website to learn more about the organiza- tion. Our web editor is Jess Dilday, and she has continued to make http://iaspm-us.net a cornucopia of news, opinion, and musical sug- gestions for further listening. Our scholarly publication, The Journal of Popular Music Studies, comes out quarterly from John Wiley & Sons. Under the editorship of Gayle Wald and Oliver Wang, it has moved from strength to strength, and is now one of the leading voices in con- temporary popular music studies. This conference marks the end of my term as President. I have tried to serve “the Branch” (as I like to call it) and to help it serve you, its members, as a steady and supportive professional organization. I have worked to balance the many different constituencies that come together under its umbrella, and to expand the intellectual breadth of the never-ending conversation that forms popular music studies. Most gratifying to me has been the opportunity as President to help usher new, different voices into the IASPM-US mix, keeping the beats fresh and the intellectual needles pinned to the red. You are about to take part in that conversation. Make your voice heard! Robert Fink IASPM-US President 5 BOARD OF DIRECTORS EXECUTIVE COMMITTEE President: Robert Fink Journal Editors: Gayle Wald and Vice President: Diane Pecknold Oliver Wang Secretary: Rebekah Farrugia Webmaster: Jess Dilday Treasurer: Lindsay Bernhagen Assistant Web Editor: Victor Szabo Past President: Barry Shank Open Seats: Rebekah Farrugia, Devon Powers, Anthony Kwame Harrison, and Justin D Burton Student Seat: Benjamin Court Honorary Board Members: Reebee Garofalo, Portia Maultsby CONFERENCE PROGRAM COMMITTEE Co-Chairs: Justin D Burton (Rider University) and Ali Colleen Neff (College of William and Mary) Members: Rebekah Farrugia (Oakland University), Luis-Manuel Garcia (Freie Universität Berlin), Anthony Kwame Harrison (Virginia Tech), Nadine Hubbs (University of Michigan), Elizabeth Lindau (Earlham College), Larisa Mann (New York University), Shana Redmond (University of Southern California and Ella Baker Visiting Associate Professor of Black Studies at the University of California, Santa Barbara), and Barry Shank (Ohio State University). LOCAL ARRANGEMENTS AND CONFERENCE SUPPORT Co-Chairs: Kyle Barnett (Bellarmine University) and Diane Pecknold (University of Louisville) Members: Harley Ferris (University of Louisville), Tracy Heightchew (University of Louisville), Aaron Jaffe (University of Louisville) 6 TABLE OF CONTENTS Venue Information 8 Conference Information 10 Featured Speakers 13 Evening Events 14 Conference Schedule Thursday, February 19 16 Friday, February 20 17 Saturday, February 21 26 Conference advertisers 36 7 Thursday Venues The Muhammad Ali Center The Kentucky Museum of Art and Craft The conference opening plenary will take place at the Muhammad Ali Center. The Muhammad Ali Center is a multicultural cen- ter and museum dedicated to preserving and sharing the legacy and ideals of Muhammad Ali; to promoting respect, hope, and under- standing; and to inspiring adults and children everywhere to be as great as they can be. Website: http://www.alicenter.org/ Address: 144 N. Sixth Street The conference opening reception will take place at the Kentucky Mu- seum of Art and Craft. The Kentucky Museum of Art and Craft supports and promotes excellence in art, craft, applied arts and design. It fea- tures contemporary art that explores craft emphasizing the techniques, materials, and process of creative expression and seeks to participate in a broader conversation about art and its role in society. Website: http://www.kmacmuseum.org/ Address: 715 W. Main Street 8 Friday and Saturday Venues The University of Louisville Ekstrom Library Bingham Humanities Building Friday and Saturday sessions will take place on the UofL campus in the Ekstrom Library (2301 S. Third Street) and the Bingham Humanities Building (2216 S. First Street Walk). Registration and book exhibits will be located on the lower level of Ekstrom Library except on Saturday morning from 8:00 am to 10:30 am, when registration will take place in the lobby of the Bingham Humanities Building. 9 CONFERENCE INFORMATION Conference Hotel Courtyard Louisville Downtown 100 S. Second Street Louisville, KY 40202 502-562-0200 Conference Shuttles Daytime Shuttle Bus: A bus will circulate between the Courtyard Louisville Downtown and Ekstrom Library throughout session hours. It will depart from the hotel on the hour and half hour beginning at 7:30 am and from the IASPM-US shuttle stop (see map p. 9) on the :15 and :45 of each hour to return to the hotel. Look for the yellow school bus with the IASPM-US sign. Evening Shuttle Vans: On Friday and Saturday evenings, 15-passenger vans will circulate continuously between the Courtyard Louisville Downtown and the event venues, departing from each location ap- proximately every 15 minutes. If you need emergency information about the location of the evening shuttle closest to you, you can reach a driver at 502-939-1009. Local Cab Companies Yellow Cab: 502-636-5511 Green Cab: 502-635-6400 Checker Cab: 502-244-9480 Designated Driver Service CityScoot: 502-56-NO-DUI Parking Visitor parking is available in the Speed Museum Parking Garage. Park- ing is $7/day. Due to construction, the Third Street entrance to the garage is currently blocked. On Saturday, visitors can park in the uni- versity lot adjacent to the School of Music. Please use the map on the opposite page to reach the rear entrance to the garage. 10 Food There are a number of dining options within easy walking distance of Ekstrom Library. Campus dining options include The Tulip Tree Café in the library (sandwiches and wraps) and the Ville Grille just across the street (food court with fruit and salad, deli, pasta and pizza, vegetarian and vegan options).
Load more

Recommended publications
  • Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020)
    Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020) Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?) Exclusive Record Store Day version pressed on 7" picture disc! Top song on Billboard's 375Media Ace Of Base The Sign 7" 1 !K7 Pop SI 174427 730003726071 D 1994 Year End Chart. [ENG]Pink heavyweight 180 gram audiophile double vinyl LP. Not previously released on vinyl. 'Nam Myo Ho Ren Ge Kyo' was first released on CD only in 2007 by Ace Fu SPACE AGE 375MEDIA ACID MOTHERS TEMPLE NAM MYO HO REN GE KYO (RSD PINK VINYL) LP 2 PSYDEL 139791 5023693106519 AT: 375 / CH: Irascible Records and now re-mastered by John Rivers at Woodbine Street Studio especially for RECORDINGS vinyl Out of print on vinyl since 1984, FIRST official vinyl reissue since 1984 -Chet Baker (1929 - 1988) was an American jazz trumpeter, actor and vocalist that needs little introduction. This reissue was remastered by Peter Brussee (Herman Brood) and is featuring the original album cover shot by Hans Harzheim (Pharoah Sanders, Coltrane & TIDAL WAVES 375MEDIA BAKER, CHET MR. B LP 1 JAZZ 139267 0752505992549 AT: 375 / CH: Irascible Sun Ra). Also included are the original liner notes from jazz writer Wim Van Eyle and MUSIC two bonus tracks that were not on the original vinyl release. This reissue comes as a deluxe 180g vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020. * Record Store Day 2020 Exclusive Release.* Features new artwork* LP pressed on pink vinyl & housed in a gatefold jacket Limited to 500 copies//Last Tango in Paris" is a 1972 film directed by Bernardo Bertolucci, saxplayer Gato Barbieri' did realize the soundtrack.
    [Show full text]
  • Feature Film Project Summary Logline Synopsis
    HERE Feature Film Project Summary A Braden King Film Written by Braden King and Dani Valent Producers: Lars Knudsen, Jay Van Hoy Co-Producer: Jeff Kalousdian Executive Producers: Zoe Kevork, Julia King A Truckstop Media / Parts and Labor Production 302A W. 12th St., #223 New York, New York 10014 (212) 989-7105 / [email protected] www.herefilm.info Logline HERE is a dramatic, landscape-obsessed road movie that chronicles a brief but intense romantic relationship between an American satellite-mapping engineer and an expatriate Armenian art photographer who impulsively decide to travel together into uncharted territory. Synopsis Will Shepard is an American satellite-mapping engineer contracted to create a new, more accurate survey of the country of Armenia. Within the industry, his solitary work - land-surveying satellite images to check for accuracy and resolve anomalies - is called “ground-truthing”. He’s been doing it on his own, for years, all over the world. But on this trip, his measurements are not adding up. Will meets Gadarine Najarian at a rural hotel. Tough and intriguing, she’s an expatriate Armenian art photographer on her first trip back in ages, passionately trying to figure out what kind of relationship - if any - she still has with her home country and culture. Fiercely independent, Gadarine is struggling to resolve the life she’s led abroad with the Armenian roots that run so deeply through her. There is an instant, unconscious bond between these two lone travelers; they impulsively decide to continue together. HERE tells the story of their unique journey and the dramatic personal transformations it leads each of them through.
    [Show full text]
  • REVIEWS January 2016 1
    Open Inquiry Archive—REVIEWS January 2016 1 Open Inquiry Archive ISSN 2167-8812 http://openinquiryarchive.net January 2016 REVIEWS ________________________________________________________________________________________________ David Grubbs. "Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording." Durham, NC: Duke University Press, 2014. Reviewed by: Alexandra Hui (AssoCiate Professor of History at Mississippi State University, head of the History of SCienCe, TeChnology, and MediCine field, and Core FaCulty of the Center for the History of AgriCulture, SCienCe, and the Environment in the South) David Grubbs is an AssoCiate Professor at Brooklyn College Conservatory of MusiC. SuCh trappings of tenure and domestiCation should not, however, fool you. From his first flights as part of the punk band Squirrel Bait in his teen years to his founding membership with the ChiCago experimental musiC group Gastr del Sol to his ongoing collaborations with Tony Conrad, Pauline Oliveros, the Red Krayola, and many more, Grubbs is as muCh a musician as an academiC. He is also as muCh a ravenous, easily- distraCted, tiCkled-by-the-obsCure listener of the present as an exCeedingly thoughtful and eminently readable historian of sounds past. These many identities are mobilized in Grubbs’ delightful new book, Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording. The book begins and ends with disCussions of his own listening experienCes, in the past as a graduate student in ChiCago slinking around the free jazz and improvised musiC scene and presently, attempting to navigate the infinitude of listening possibilities on DRAM with some semblance of disCipline. In a way, this gives the book a narrative arC.1 But the very premise of Records Ruin the Landscape is a folding — a knotting even — of temporality.
    [Show full text]
  • A Lengthwise Slash David Grubbs, 2011 I First Met Arnold Dreyblatt In
    A Lengthwise Slash David Grubbs, 2011 I first met Arnold Dreyblatt in 1996 when he came to Chicago at Jim O’Rourke’s urging. At the time Jim and I were the two core members of the group Gastr del Sol, and we also co-directed the Dexter’s Cigar reissue label for Drag City. The basic idea of Dexter’s Cigar was that there were any number of out-of-print, underappreciated recordings that, if heard, would put contemporary practitioners to shame. Just try to stack your solo free-improv guitar playing versus Derek Bailey’s Aida. Think your power electronics group is hot? Care to take a listen to Merzbow’s Rainbow Electronics 2? Do you fancy a shotgun marriage of critical theory and ramshackle d.i.y. pop? But you’ve never heard the Red Krayola and Art and Language’s Corrected Slogans? Gastr del Sol work time was as often as not spent sharing new discoveries and musical passions. Jim and I both flipped to Dreyblatt’s 1995 Animal Magnetism (Tzadik; which Jim nicely described “as if the Dirty Dozen Brass Band got a hold of some of Arnold’s records and decided to give it a go”) as well as his ingenious 1982 album Nodal Excitation (India Navigation), with its menagerie of adapted and homemade instruments (midget upright pianoforte, portable pipe organ, double bass strung with steel wire, and so on). We knew upon a first listen that we were obliged to reissue Nodal Excitation. The next time that Arnold blew through town, we had him headline a Dexter’s Cigar show at the rock club Lounge Ax.
    [Show full text]
  • L the Charlatans UK the Charlatans UK Vs. the Chemical Brothers
    These titles will be released on the dates stated below at physical record stores in the US. The RSD website does NOT sell them. Key: E = Exclusive Release L = Limited Run / Regional Focus Release F = RSD First Release THESE RELEASES WILL BE AVAILABLE AUGUST 29TH ARTIST TITLE LABEL FORMAT QTY Sounds Like A Melody (Grant & Kelly E Alphaville Rhino Atlantic 12" Vinyl 3500 Remix by Blank & Jones x Gold & Lloyd) F America Heritage II: Demos Omnivore RecordingsLP 1700 E And Also The Trees And Also The Trees Terror Vision Records2 x LP 2000 E Archers of Loaf "Raleigh Days"/"Street Fighting Man" Merge Records 7" Vinyl 1200 L August Burns Red Bones Fearless 7" Vinyl 1000 F Buju Banton Trust & Steppa Roc Nation 10" Vinyl 2500 E Bastille All This Bad Blood Capitol 2 x LP 1500 E Black Keys Let's Rock (45 RPM Edition) Nonesuch 2 x LP 5000 They's A Person Of The World (featuring L Black Lips Fire Records 7" Vinyl 750 Kesha) F Black Crowes Lions eOne Music 2 x LP 3000 F Tommy Bolin Tommy Bolin Lives! Friday Music EP 1000 F Bone Thugs-N-Harmony Creepin' On Ah Come Up Ruthless RecordsLP 3000 E David Bowie ChangesNowBowie Parlophone LP E David Bowie ChangesNowBowie Parlophone CD E David Bowie I’m Only Dancing (The Soul Tour 74) Parlophone 2 x LP E David Bowie I’m Only Dancing (The Soul Tour 74) Parlophone CD E Marion Brown Porto Novo ORG Music LP 1500 F Nicole Bus Live in NYC Roc Nation LP 2500 E Canned Heat/John Lee Hooker Hooker 'N Heat Culture Factory2 x LP 2000 F Ron Carter Foursight: Stockholm IN+OUT Records2 x LP 650 F Ted Cassidy The Lurch Jackpot Records7" Vinyl 1000 The Charlatans UK vs.
    [Show full text]
  • 2016-Program-Book-Corrected.Pdf
    A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL is a wide-ranging exploration of today’s music that brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and with partners in venues throughout the city. The second NY PHIL BIENNIAL, taking place May 23–June 11, 2016, features diverse programs — ranging from solo works and a chamber opera to large scale symphonies — by more than 100 composers, more than half of whom are American; presents some of the country’s top music schools and youth choruses; and expands to more New York City neighborhoods. A range of events and activities has been created to engender an ongoing dialogue among artists, composers, and audience members. Partners in the 2016 NY PHIL BIENNIAL include National Sawdust; 92nd Street Y; Aspen Music Festival and School; Interlochen Center for the Arts; League of Composers/ISCM; Lincoln Center for the Performing Arts; LUCERNE FESTIVAL; MetLiveArts; New York City Electroacoustic Music Festival; Whitney Museum of American Art; WQXR’s Q2 Music; and Yale School of Music. Major support for the NY PHIL BIENNIAL is provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis Goelet Fund. Additional funding is provided by the Howard Gilman Foundation and Honey M. Kurtz. NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JUNE 5-7, 2016 JUNE 13-19, 2016 __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATIONS 5 FESTIVAL SCHEDULE 7 COMMITTEE & STAFF 10 PROGRAMS AND NOTES 11 INSTALLATIONS 88 PRESENTATIONS 90 COMPOSERS 92 PERFORMERS 141 ACKNOWLEDGEMENTS THE NEW YORK PHILHARMONIC ORCHESTRA THE AMPHION FOUNDATION DIRECTOR’S LOCATIONS WELCOME NATIONAL SAWDUST 80 North Sixth Street Brooklyn, NY 11249 Welcome to NYCEMF 2016! Corner of Sixth Street and Wythe Avenue.
    [Show full text]
  • Pm-The Breeders-09.01.2018.Pdf
    FKP Scorpio Konzertproduktionen GmbH Große Elbstr. 277 a ∙ 22767 Hamburg Tel. (040) 853 88 888 ∙ www.fkpscorpio.com PRESSEMITTEILUNG 09.01.2018 The Breeders für zwei Konzerte in Deutschland „Good Morning!“ Mit dieser freundlichen Begrüßung beginnt „Wait In The Car“, die erste Single von den Breeders seit 2009. In der gleichen Besetzung der Mitt-90er, die auch „Last Splash“ eingespielt hat, haben sich die Zwillingsschwestern Kim und Kelley Deal, Josephine Wiggs und Jim Macpherson wieder zusammengetan und arbeiten weiter an neuen Tracks für ein neues Album. 2013 feierte das Quartett seine Reunion zum 20-jährigen Jubiläum des Platin-Albums und verkaufte auf der Tour acht Monate lang alle Auftritte aus. Auch für die exklusive und ziemlich großartige und gefeierte Show, die The Breeders im Oktober in Berlin gespielt haben, gab es selbstverständlich keine Tickets mehr. Eigentlich war die Band einst als Seitenprojekt von vier sehr energischen Frauen gedacht: Kim Deal von den Pixies, Tanya Donelly von den Throwing Muses, Josephine Wiggs von The Perfect Disaster und Britt Walford von Slint veröffentlichten ihr Debütalbum „Pod“, produziert von Steve Albini, und spielten ein paar Gigs. Ende der Geschichte, könnte man denken. Doch der Sound blieb den Damen im Kopf, und der Einfluss der Frauen stieg immer weiter. 1992 brachte Kim ihrer Schwester Kelley das Gitarrespielen bei, holte Jim Macpherson als Schlagzeuger dazu und nahm zusammen mit Josephine „Last Splash“ auf. Man supportete Nirvana, spielte in Glastonbury und hatte mit „Cannonball“ sogar einen Hit. Ende der Geschichte? Weit gefehlt. The Breeders blieben in den Köpfen und Herzen. Ihr Einfluss nahm immer weiter zu, einzelne Auftritte wurden verklärt, die Coolness und Souveränität der Musik hervorgehoben.
    [Show full text]
  • [email protected] Website: Nightshift.Oxfordmusic.Net Free Every Month
    email: [email protected] website: nightshift.oxfordmusic.net Free every month. NIGHTSHIFT Issue 126 January Oxford’s Music Magazine 2006 Harry Angel The Devil’s in the Music Interview inside Photo by Miles Walkden Photo by Miles Plus The new bands to watch in 2006 NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 Evenings and Boywithatoy are among the local NEWNEWSS artists remixing the band. PINDROP PERFORMANCES is a new Nightshift: PO Box 312, Kidlington, OX5 1ZU monthly live music club night launched this Phone: 01865 372255 email: [email protected] month at The Port Mahon in St Clement’s. Pindrop aims to showcase the best up and coming alternative folk and electronic acts THIS YEAR’S OXFORD PUNT will take while the ground floor venue frontage will around. The first night takes place on Sunday place on Wednesday 10th May. Arrangements include a new bar area. A timetable for the 29th January and features Brickwork Lizards, for the annual showcase of the best unsigned refurbishment is yet to be finalised; in the The Thumb Quintet and Dan Glazebrook and music in Oxfordshire, organised by Nightshift, meantime the Zodiac is booking its spring Josie Webber. Each event starts at 5pm and are almost complete, with five venues already programme. Notable gigs already confirmed finishes at 8pm and tickets are limited to 35. confirmed and two more to be confirmed. As include: The Kooks (10th February), Julian Get them from Polar Bear on Cowley Road. ever, the Punt will kick off at Borders in Cope (14th Feb), The Paddingtons (16th Feb), Magdalen Street before moving on to Jongleurs, Regina Spektor (16th Feb), Battle (4th March), OXFORDBANDS.COM has launched an The Wheatsheaf, The City Tavern and finishing The Buzzcocks (5th Mar), Cave In (6th Mar), 65 updated version of its interactive venue guide.
    [Show full text]
  • Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago Adam Zanolini The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1617 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SACRED FREEDOM: SUSTAINING AFROCENTRIC SPIRITUAL JAZZ IN 21ST CENTURY CHICAGO by ADAM ZANOLINI A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 ADAM ZANOLINI All Rights Reserved ii Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _________________ __________________________________________ DATE David Grubbs Chair of Examining Committee _________________ __________________________________________ DATE Norman Carey Executive Officer Supervisory Committee: _________________ __________________________________________ DATE Jeffrey Taylor _________________ __________________________________________ DATE Fred Moten _________________ __________________________________________ DATE Michele Wallace iii ABSTRACT Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini Advisor: Jeffrey Taylor This dissertation explores the historical and ideological headwaters of a certain form of Great Black Music that I call Afrocentric spiritual jazz in Chicago. However, that label is quickly expended as the work begins by examining the resistance of these Black musicians to any label.
    [Show full text]
  • Lasse Marhaug & Incapacitants Music Writing
    nyMusikk vårprogram 2015 nyMusikk + All Ears nyMusikk + Borealis 9. januar Lasse Marhaug & 9. mars Borealis preview To høydepunkter fra programmet til årets Incapacitants Borealisfestival: Den eksperimentelle Støypioner Marhaug i samtale med den trubaduren Richard Dawson + cellovirtuosen ikoniske japanske støyduoen Incapacitants. Oliver Coates med Chrysanthemum Bear. nyMusikk kl. 14:00. Gratis, lett servering. Blå kl. 20:00. Kr 150 / 100 (medl.) nyMusikk + Big Bang 23. januar Music writing masterclass 10. – 11. april Musikkmagasinet The Wire holder skrivekurs nyMusikk Kids: i musikkjournalistikk og musikkritikk. Påmelding: [email protected]. Stavanger Konserthus Kunstnernes Hus kl. 11:00-16:00. iPad-workshop for barn 6 - 12 år som del av den Kr 350/250 (stud.) europeiske barnemusikkfestivalen Big Bang. Program: stavanger-konserthus.no 23. januar David Grubbs nyMusikk + Henie Onstad Kunstsenter Off The Page kick-off solokonsert med grunnleggeren av Squirrel Bait, Bastro og Lene Grenager på HOK: Gastr del Sol. The Wire Sound System DJs. Last Train kl. 22:00. Kr 100/gratis (medl.) 10. mai Ensemble Zwischentöne Konsertdag i forbindelse med Melgaard/ Rickhard-utstillingen. Et av verdens fremste nyMusikk + The Wire 24. januar samtidsmusikkensembler, Ensemble Off The Page Oslo Zwischentöne, urfremfører et nytt verk av Musikkfestival uten musikk: Samtaler, foredrag, Lene Grenager. Jon Wesseltoft-solo i performance, film og musikkmarked. Melgaard-utstillingen. Kunstnernes Hus kl. 11: 00 – 22:00. Kr 250 / 150 Henie Onstad Kunstsenter kl. 14.00. Kr 80/50. 1. februar nyMusikk Kids: Ilios Only Connect iPad-workshop for barn 6 - 12 år med slagverker 4. – 7. juni Eirik Raude. Påmelding til [email protected]. Festival Of Sound Galleri NordNorge, Harstad kl.
    [Show full text]
  • The History of Rock Music - the Nineties
    The History of Rock Music - The Nineties The History of Rock Music: 1995-2001 Drum'n'bass, trip-hop, glitch music History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Post-post-rock (These are excerpts from my book "A History of Rock and Dance Music") The Louisville alumni 1995-97 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The Squirrel Bait and Rodan genealogies continued to dominate Kentucky's and Chicago's post-rock scene during the 1990s. Half of Rodan, i.e. Tara Jane O'Neil (now on vocals and guitar) and Kevin Coultas, formed Sonora Pine with keyboardist and guitarist Sean Meadows, violinist Samara Lubelski and pianist Rachel Grimes. Their debut album, Sonora Pine (1996), basically applied Rodan's aesthetics to the format of the folk lullaby. Another member of Rodan, guitarist Jeff Mueller, formed June Of 44 (11), a sort of supergroup comprising Sonora Pine's guitarist Sean Meadows, Codeine's drummer and keyboardist Doug Scharin, and bassist and trumpet player Fred Erskine. Engine Takes To The Water (1995) signaled the evolution of "slo-core" towards a coldly neurotic form, which achieved a hypnotic and catatonic tone, besides a classic austerity, on the mini-album Tropics And Meridians (1996). Sustained by abrasive and inconclusive guitar doodling, mutant rhythm and off-key counterpoint of violin and trumpet, Four Great Points (1998) metabolized dub, raga, jazz, pop in a theater of calculated gestures.
    [Show full text]
  • The Wolfe Institute the Ethyle R
    The Wolfe Institute The Ethyle R. Wolfe Institute for the Humanities, in cooperation with the English Department and the MFA Intergenre Reading Series, presents David Grubbs and Anna Rabinowitz David Grubbs is professor of music at Brooklyn College and the Graduate Center, CUNY. At Brooklyn College he also teaches in the MFA programs in Performance and Interactive Media Arts (PIMA) and Creative Writing. He is the author of Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording (Duke University Press), which has recently been translated into French, Italian, and Japanese. Grubbs has released thirteen solo albums and appeared on more than 150 commercially-released recordings, the most recent of which is Prismrose (Blue Chopsticks, 2016). In 2000, his The Spectrum Between (Drag City) was named “Album of the Year” in the London Sunday Times. He is known for his cross-disciplinary collaborations with writers Susan Howe and Rick Moody, visual artists Anthony McCall, Angela Bulloch, and Stephen Prina, and choreographer Jonah Bokaer, and his work has been presented at, among other venues, the Solomon R. Guggenheim Museum, MoMA, the Tate Modern, and the Centre Pompidou. Grubbs was a member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and has performed with the Red Krayola, Will Oldham, Tony Conrad, Pauline Oliveros, and Loren Connors, and many others. He is a grant recipient from the Foundation for Contemporary Arts, a contributing editor in music for BOMB Magazine, and director of the Blue Chopsticks record label. Anna Rabinowitz is a prize-winning poet and librettist. Her fifth volume of poetry isWords On the Street (Tupelo Press, 2016).
    [Show full text]