Devendra Banhart the Grief I Have Caused You
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Hédi A. Jaouad. “Limitless Undying Love”: the Ballad of John and Yoko and the Brownings
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Revue CMC Review (York University) Hédi A. Jaouad. “Limitless Undying Love”: The Ballad of John and Yoko and the Brownings. Manchester Center, Vermont: Shires Press, 2015. 132 pp. Hédi A. Jaouad is a distinguished scholar known for his expertise on Francophone North African (Maghrebi) literature. Professor of French and Francophone literature at Skidmore College, Saratoga Springs, New York, he is the Editor of CELAAN, the leading North American journal focusing on North African literature and language. He is also interested in Victorian literature, with particular concentration on Robert and Elizabeth Barrett Browning, on whom he published a previous book, The Brownings’ Shadow at Yaddo (2014). However, his current book, “Limitless Undying Love”: The Ballad of John and Yoko and the Brownings, shows a whole other side to his scholarship, for it links the Brownings to those icons of contemporary popular culture, John Lennon and Yoko Ono. This is a concise, economical little study (132 pp.), but it manages, in brief compass, to be pluridisciplinary, building bridges between poetry, music, and painting. As he modestly proclaims, it shows “his passion for more than one liberal art” (7). The title, “Limitless Undying Love,” comes from a late John Lennon song, “Across the Universe.” Hédi Jaouad reminds us that the titular “Ballad” applies to both poetry and music. He compares what he has called 19th-century “Browningmania” to 20th-century “Beatlemania,” both of which spread to North America in what has been popularly described as a “British Invasion.” Lest the reader assume Jaouad is only tracing coincidental parallels, he makes it clear from the outset that John and Yoko actually saw themselves as reincarnations of the Brownings, and consciously exploited the similarities in their lives and careers. -
The Low Anthem and Blind Pilot |
1/9/2017 Live Review: The Low Anthem and Blind Pilot | www.splicetoday.com EMAIL/USERNAME PASS (FORGOT?) Email Password NEW USER? LOGIN MUSIC DEC 02, 2009, 06:07AM Live Review: The Low Anthem and Blind Pilot Matt Poland [/authors/Matt%20Poland] Straight from the Cat’s Cradle in Carrboro, North Carolina. The following audio was included in this article: The following audio was included in this article: A few years after American indie folk’s middecade spike in visibility, which, with overexposed albums including Devendra Banhart’s Rejoicing in the Hands and Joanna Newsom’s Ys, may not have been a musical zenith, the http://www.splicetoday.com/music/live-review-the-low-anthem-and-blind-pilot 1/6 1/9/2017 Live Review: The Low Anthem and Blind Pilot | www.splicetoday.com genre has settled back into an unassuming position that seems to fit the music better. The “freak folk” fringe having largely faded, the nourishing, elemental influence of Americana in all its permutations continues to generate quietly exciting new music. This was evident last week at Cat’s Cradle in Carrboro, North Carolina, during an evening of itinerant, wornin, unbeaten songs performed by The Low Anthem and Blind Pilot. Both bands make music that is melancholy but not maudlin, that is steeped in oldtime American music but not anachronistic. The Low Anthem, a Rhode Island trio, began their set with pretty unconventional instrumentation: Ben Knox Miller playing acoustic guitar and singing, Jeffrey Prystowsky on organ, and Jocie Adams playing the crotales— sort of a small xylophone made up of discs instead of planks—with a violin bow, by far the most interesting thing I’ve seen done with a violin bow since I last saw Sigur Rós. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Universidade Federal De Ouro Preto Instituto De Ciências Humanas E Sociais Departamento De História No País Dos Bauretz
UNIVERSIDADE FEDERAL DE OURO PRETO INSTITUTO DE CIÊNCIAS HUMANAS E SOCIAIS DEPARTAMENTO DE HISTÓRIA RENATA MARQUES CORDEIRO NO PAÍS DOS BAURETZ Dimensões políticas do deboche dosMutantesà luz da teoria bakhtiniana (1966 – 1973) Mariana 2017 RENATA MARQUES CORDEIRO NO PAÍS DOS BAURETZ Dimensões políticas do deboche dosMutantesà luz da teoria bakhtiniana (1966 – 1973) Dissertação apresentada ao Programa de Pós- Graduação em História, do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto, como requisito parcial à obtenção do grau de Mestre em História. Área de concentração “Poder e Linguagens”, linha de pesquisa “Ideias, Linguagens e Historiografia”. Orientador: Prof. Dr. Mateus Henrique de Faria Pereira Mariana Instituto de Ciências Humanas e Sociais/ UFOP 2017 C794p Cordeiro, Renata Marques. No País dos Bauretz [manuscrito]: dimensões políticas do deboche dos Mutantes à luz da teoria bakhtiniana (1966 – 1973)/ Renata Marques Cordeiro. – 2017. 134f. il. Orientador: Prof. Dr. Mateus Henrique de Faria Pereira. Dissertação (Mestrado) - Universidade Federal de Ouro Preto. Instituto de Ciências Humanas e Sociais. Departamento de História. Programa de Pós- graduação em História. Área de concentração: Poder e Linguagens. 1. Grupos de rock. 2. Tropicalismo (Movimento musical). 3. Contracultura. I. Pereira, Mateus Henrique de Faria. II. Universidade Federal de Ouro Preto. III. Título. CDU: 94(81):78 Catalogação: [email protected] À memória de meu pai por ter ele me ensinado a amar a música além dos rótulos. À minha mãe por me ensinar a ler e a ser. À amiga e à irmã, Suzana e Fernanda, por se lembrarem de mim toda vez que encontravam algum texto em prosa ou poema que pudesse compor com outros essa dissertação. -
Anohni: Miracle Now
ANOHNI: MIRACLE NOW EN INTRODUKTION TIL UDSTILLINGEN / AN INTRODUCTION TO THE EXHIBITION MAY 24 – AUGUST 5 2018 MIRACLE NOW “Does nature evolve, or does She just change? So much information can now be stored in a tiny space. Scientists have said recently that ancestral trauma changes our genome in detectable ways. I imagine that in the future we shall put a drop of water into a machine and it will reveal to us every moment that its atoms have ever ex- perienced, and every living and inanimate body that it has ever been a part of. When I first staged the play Miracle Now in 1995, my dream was that Nature would remem- ber every one of Her vanished faces, and that this knowledge would somehow inform Her next iteration. This was a hopeful idea to me, in the face of impending eco-col- lapse.” – ANOHNI “Nothing goes unrecorded. Every word of leaf and snowflake and particle of dew, as well as earthquake and avalanche, is writ- ten down in Nature’s book.” – John Muir, 1872 ANOHNI: “Where do we go when we die?” Nola Taylor: “Back to country.” – Conversation with Nola Taylor, Martu elder, Western Australian desert, 2015. Video Stills: Miracle Now, 1996/2018, ANOHNI/James Elaine MIRAKLERNES TID ANOHNI I NIKOLAJ KUNSTHAL Det er en stor ære at vise den første store Med udstillingen i Nikolaj Kunsthal håber vi soloudstilling med ANOHNI i Norden i at åbne op for spørgsmål og diskussioner Nikolaj Kunsthal. ANOHNI er bedst kendt omkring frigørelse, filosofi og miljø i en som musiker, men udtrykker en dybt en- bredere forstand – og ikke mindst håber vi, gageret tilgang til verden gennem sin visu- at miraklernes tid ikke er forbi endnu. -
Punk Aesthetics in Independent "New Folk", 1990-2008
PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames -
Student Handbook As Well As the Home Page
Welcome to Assistance League® of Flintridge Instrumental Music! The ALF Instrumental Music program is one of the most rewarding and exciting educational opportunities offered for our students! ALF is proud to continue its support and administration of this program. We have made the change to a virtual program in light of COVID-19. With COVID restrictions and one-third of LCUSD students Virtual Learners for the year, it is unlikely there will be physical gatherings, although things are ever evolving and we will continue to re-evaluate. We thank you for your patience as we navigate new educational methods designed with the utmost safety in mind. In the following pages you will find information to help your child be successful and get the most out of being a part of the Instrumental Music program. If you still have questions about the overall program, please do not hesitate to contact us. Sincerely, Nancy Gunther, Instrumental Music Chairman 2020-2021 Joanna Petroff, Instrumental Music Assistant Chairman 2020-2021 [email protected] 818-790-2211 Message Anytime Topics 1. Music Instructors & Contact Information 2. Is the ALF Instrumental Music Program Right for your Student? 3. Instruments 4. Class Information 5. Communication & Attendance 6. Practice Expectations 7. Behavior Standards For future reference, be sure to download or bookmark this Student Handbook as well as the https://alflintridge.org/programs/instrumental-music/ home page. ® Assistance League of Flintridge Instrumental Music 2020-2021 Music Staff Michael Davis - Brass Instructor La Cañada native Michael Davis enjoys a diverse career both performing and teaching. As an orchestral musician Michael has performed with the Los Angeles Philharmonic, San Diego Symphony, Pasadena Symphony, Santa Barbara Symphony, Santa Barbara Opera, New West Symphony, Long Beach Symphony, WildUp, the Hyogo Performing Arts Center Orchestra, the Partch Ensemble and the Philip Glass Ensemble. -
Devendra Banhart
Teatro Romano / Ostia Antica Festival "Il Mito e il S Teatro Romano / Ostia Antica Festival "Il Mito e il Sogno 2017 - 2a Edizione" 11 luglio 2017 - ore 21.00 THE BASE presenta DEVENDRA BANHART Dopo aver registrato il tutto esaurito in sole tre settimane dall’apertura delle vendite per il concerto del 24 giugno 2017 a Milano, Devendra Banhart torna live in Italia per tre nuove date estive e si esibir a Ostia Antica nello splendido scenario del Teatro Romano, marted 11 luglio. Il nuovo album, “Ape in Pink Marble”, il nono della discografia, pubblicato da Nonesuch, uscito pochi mesi fa: scritto, prodotto, arrangiato e registrato a Los Angeles dall’artista americano insieme ai suoi collaboratori di lunga data, Noah Georgeson e Josiah Steinbrick, arriva a tre anni dal precedente “Mala”, e contiene atmosfere orientali, anche grazie alla presenza del koto, un’arpa giapponese. È descritto da Q come l’apice della sua carriera e dal Wall Street Journal come il suo lavoro: «pi conciso, sommesso e seducente fino ad ora». Un piccolo assaggio ai fan italiani lo scorso settembre, quando Devendra ha partecipato al Wired Next Fest e all’incontro D Musica. Nato in Texas, Banhart attir per la prima volta l’attenzione dei media internazionali con l'album di debutto (2002), Oh Me Oh My… The Way the Day Goes By the Sun Is Setting Dogs Are Dreaming Lovesongs of the Christmas Spirit, una raccolta di registrazioni incise per diletto. Tra i suoi successi: Rejoicing in the Hands (2004), Nio Rojo (2004), Cripple Crow (2005), Smokey Rolls Down Thunder Canyon (2007) e What Will We Be (2009). -
Psaudio Copper
Issue 41 SEPTEMBER 11TH, 2017 Welcome to Copper #41! The title isn't to announce a James Taylor retrospective---sorry to crush your hopes--- but is just what I see in today's weather reports. The Pacific Northwest, where I'm bound for a long-delayed vacation, is up in flames, along with many other parts of the tinder-dry US. Meanwhile, back in my former home of Florida...they've already had nearly two feet of rain, and Hurricane Irma is not even close to the state yet. Stay safe, everyone. I'm really pleased and excited to have Jason Victor Serinus back with us, with the first part of an intensive introduction to art song. Jason brings tremendous knowledge of the field, and provides plenty of recorded examples to listen to, and in the case of videos, watch. There are many stunning performances here, and I hope you enjoy this extraordinary resource. We'll have Part 2 in Copper #42. Dan Schwartz is again in the lead-off spot with the second in his series of articles on encounters–this one, with Phil Lesh and crew; Seth Godin tells us how control is overrated; Richard Murison hears a symphony; Duncan Taylor takes us to Take 1; Roy Hall tells about a close encounter of the art kind; Anne E. Johnson introduces indie artist Anohni; and I worry about audio shows (AGAIN, Leebs??), and conclude my look at Bang & Olufsen. Industry News tells of the sale of audiophile favorite, Conrad-Johnson; Gautam Raja is back with an amazing story that I think you'll really enjoy, all about Carnatic music, overlooked heritage, and the universal appeal of rock music; and Jim Smith takes another warped look at LPs. -
Galleria Mazzoli
PRESS RELEASE GALLERIA MAZZOLI Saturday July 19th 2014 at 6h30 p.m. Galleria Mazzoli in Modena will proudly present the second solo exhibition of Devendra Banhart. The exhibition will be comprised of several series of new works involving various techniques and materials, showing the evolution if his recent artistic research. A significant part of the show will feature the “sphinx” series, where the recurrent motive is indeed the mythological figure with the human head and the lion body ― a protective symbol in ancient Egypt ― guardian of the forbidden gate of the underworld and a symbol for power and enigma in ancient Greece. All of Devendra's monochromatic “sphinxes” are created with Indian ink on vintage paper, providing the drawings with a nostalgic flavor, and appear like enclosed spaces which contain refined tales or nexuses of repeating lines, shapes and figures that sometimes become fantastic and visionary representations, some of whose traits recall petroglyphic engravings. The repetition of some of the motives almost appear as the graphical representations of the tunes that we also find in his music, therefore underlining the close link between the artist's musical and visual expression. The exhibition also explores the theme of still life. In the still life series Devendra interprets the classic genre using a different technique, that of oil on paper, which allows him to experiment various chromatic variations. The exhibition finally presents other new abstract works both on paper and wood. BIOGRAPHY Devendra Banhart exploded on the international music scene in 2002 quickly winning a coterie of devoted fans as well as an unusually hefty amount of critical kudos right from the outset that has grown steadily through to the present. -
Lizzi Bougatsos CV 2021
JAMES FUENTES 55 Delancey Street New York, NY 10002 - (212) 577 1201 [email protected] LIZZI BOUGATSOS Born 1974 in Queens, New York Lives and works in New York EDUCATION 1997 BFA Sculpture and Performance, Minor Women’s Studies/ Art History, West Virginia University College of Creative Arts SOLO EXHIBITIONS 2021 Works in Progress, James Fuentes Essex, NY 2017 Boo-Hooray, Summer Rental, Montauk, NY 2015 Work Habits, James Fuentes Gallery, NY 2010 Slut Freak, James Fuentes Gallery, NY 2009 The Breeder, Athens, Greece 2007 Street Feather, James Fuentes Gallery, NY TWO- AND THREE-PERSON EXHIBITIONS 2014 Angelblood, with Rita Ackermann, Home Alone 2, New York, NY 2013 Greetings from Bitburg, with Sadie Laska and Spencer Sweeney, Entrepot-galerie du Confort Moderne, Poitiers, France 2012 I'm Not Pregnant, Lizzi Bougatsos and Thornton Dial, James Fuentes Gallery, NY Lizzi Bougatsos “JERRY!!! and Rob Pruitt “Dinosaur dropping, Styrofoam varnished in cos mic-chrome”, Home Alone Gallery, New York, NY 2005 Failurisms with Kim Gordon, Reena Spaulings Fine Art, New York, NY 2000 Boug & Worth II, American Fine Arts, Co., New York, NY Boug & Worth, Fuck All Our Art Heroes/Assholes, American Fine Arts, Co., New York, NY SELECTED GROUP EXHIBITIONS 2020 Dance, Dance, Dance, Curated by Tyson Reeder, Arts of Life Gallery, Chicago IL 2018 ADAM MCEWEN SELECTS: Exhibition and Sale to Benefit the Foundation for Contemporary Arts, Barbara Gladstone, NY 2018 Kathy Acker: Who Wants to be Human All the Time, curated by Bjarne Melgaard,Performance Space New -
Compact Disc ARTIST: Devendra Banhart
TRACKS Can't Help But Smiling Angelika Baby Goin' Back First Song For B Last Song For B Chin Chin & Muck Muck 16th & Valencia Roxy Music WEBSITES: Rats Official Compact Disc Maria Lionza MySpace ARTIST: Devendra Banhart Brindo TITLE: What Will We Be (Limited Edition) Meet Me At Lookout Point Walilamdzi Label: WB/Warner Bros. NOTES: Config & Selection #: CD 520960 Foolin' Street Date: 10/27/09 Order Due Date: 10/07/09 UPC: 093624973119 Box Count: 30 Unit Per Set: 1 SRP: $18.98 Alphabetize Under: B OTHER EDITIONS: For the latest up to date info on this release visit WEA.com. ALBUM FACTS Genre: Rock Producers: Devendra Banhart & Paul Butler Special Packaging Info: Includes a 36-page booklet with all illustrations and drawings done by Devandra Description: What Will We Be has a sunny, breezy feel with performances that evoke warm, lazy afternoons spent with good friends. The album is dominated by powerfully melodic, mid-tempo numbers played with relaxed expertise. But there's also ambitious stylistic range displayed with the inclusion of evanescent ballads like "Meet Me At the Lookout Point," the epic riff-rocker "Rats" sprightly R&B flavored groovers on "Baby," and the sultry Latin-flavored stunner "Brindo," the Roxy-inspired "16th & Valencia Roxy Music" among other pleasant surprises. What Will We Be was recorded in a sleepy Northern California town throughout the Spring of 2009, and was co-produced by Paul Butler (from UK outfit Band Of Bees). This is the second album Devendra's recorded with the same crew of players: Noah Georgeson (producer of Banhart's last two albums, Little Joy, Bert Jansch and Joanna Newsome) on guitar and backing vocals, Greg Rogove (Priestbird) on drums and backing vocals; Luckey Remington (The Pleased) on bass and vocals and Rodrigo Amarante (Los Hermanos, Little Joy) on guitar and backing vocals.