The Riot Grrrl Collection 1St Edition Free Download
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC). -
REFORMULATING the RIOT GRRRL MOVEMENT: GRRRL RIOT the REFORMULATING : Riot Grrrl, Lyrics, Space, Sisterhood, Kathleen Hanna
REFORMULATING THE RIOT GRRRL MOVEMENT: SPACE AND SISTERHOOD IN KATHLEEN HANNA’S LYRICS Soraya Alonso Alconada Universidad del País Vasco (UPV/EHU) [email protected] Abstract Music has become a crucial domain to discuss issues such as gender, identities and equality. With this study I aim at carrying out a feminist critical discourse analysis of the lyrics by American singer and songwriter Kathleen Hanna (1968-), a pioneer within the underground punk culture and head figure of the Riot Grrrl movement. Covering relevant issues related to women’s conditions, Hanna’s lyrics put gender issues at the forefront and become a sig- nificant means to claim feminism in the underground. In this study I pay attention to the instances in which Hanna’s lyrics in Bikini Kill and Le Tigre exhibit a reading of sisterhood and space and by doing so, I will discuss women’s invisibility in underground music and broaden the social and cultural understanding of this music. Keywords: Riot Grrrl, lyrics, space, sisterhood, Kathleen Hanna. REFORMULANDO EL MOVIMIENTO RIOT GRRRL: ESPACIO Y SORORIDAD EN LAS LETRAS DE KATHLEEN HANNA Resumen 99 La música se ha convertido en un espacio en el que debatir temas como el género, la iden- tidad o la igualdad. Con este trabajo pretendo llevar a cabo un análisis crítico del discurso con perspectiva feminista de las letras de canciones de Kathleen Hanna (1968-), cantante y compositora americana, pionera del movimiento punk y figura principal del movimiento Riot Grrrl. Cubriendo temas relevantes relacionados con la condición de las mujeres, las letras de Hanna sitúan temas relacionados con el género en primera línea y se convierten en un medio significativo para reclamar el feminismo en la música underground. -
Why I Love NYC: Le Tigre
Choose your city Don't miss a thing: sign up to get the latest from Time Out. Subscribe to Time Out New York Magazine Tickets & Offers Things To Do Restaurants Bars Movies Theater Art Music Shopping & Style Blog Nightlife Attractions Events & Festivals Museums Kids Comedy Dance LGBT Sex & Dating Books City Guide Neighborhoods Hotels Promotions What When Where Things to do or see in New York All dates All areas Why I love NYC: Le Tigre The New York rockers and feminist icons share their favorite spots throughout the Hotel Belleclaire city. By Karen Iris Tucker Mon Mar 28 2011 From $197 See now The Watson Hotel From $198 See now Hotel Belleclaire The Watson Hotel From $197 From $198 Paramount Times The Lucerne Hotel Square whyiloveNYC01letigre From $278 From $217 Though its members were bred elsewhere, feminist electropunk trio Le Tigre is firmly rooted in New York City: Frontwoman Kathleen Hanna resides downtown, guitarist Johanna Fateman lives in Harlem, and keyboardist JD Samson represents Brooklyn. The band even featured an ode to the city's subway system, "My My Metrocard," on its 1999 selftitled debut album. The group has been on hiatus since 2006, but fans clamoring for a fix can relive Hanna & Co.'s frenetic live performances with the upcoming release of Who Took the Bomp? Le Tigre on Tour, directed by Kerthy Fix (Strange Powers: Stephin Merritt and the Magnetic Fields). The documentary, which is out on DVD on June 7, follows the band's 2004 tour, Millennium Broadway Hudson New York, New York Times Square and celebrates the trio's ability to lyrically pulverize homophobic bigots, Rudy Giuliani and misogynistic jerks—all while Central Park playing fun, danceable beats. -
Download Artist Bios
REFLECTING ABSTRACTION April 14 - May 14, 2011 Participants SADIE BENNING Sadie Benning was born in Madison, Wisconsin in 1973. She received her M.F.A. from Bard College in 1997. Her videos have been exhibited internationally in museums, galleries, universities and film festivals since 1990 with select solo exhibitions at the Museum of Modern Art, The Whitney Museum of American Art, The Film Society of Lincoln Center, Centre Georges Pompidou, and Hallwalls Contemporary Arts Center among other venues. Her work is in many permanent collections, including those of the Museum of Modern art, The Fogg Art Musuem, and the Walker Art Center, and has been included in the following exhibitions: Annual Report: 7th Gwangju Biennale (2008); White Columns Annual (2007); Whitney Biennial (2000 and 1993); Building Identities, Tate Modern (2004); Remembrance and the Moving Image, Australian Centre for the Moving Image (2003); Video Viewpoints, Museum of Modern Art (2002); American Century, Whitney Museum of Modern Art (2000); Love’s Body, Tokyo Museum of Photography (1999); Scream and Scream Again: Film in Art, Museum of Modern Art Oxford (1996-7), and Venice Biennale (1993). Benning’s recent work has increasingly incorporated video installation, sound, sculpture, and drawing. Solo exhibitions include Wexner Center for the Arts (Sadie Benning: Suspended Animation, 2007), Orchard Gallery (Form of…a Waterfall, 2008), Dia: Chealsea (Play Pause, 2008) and The Power Plant (Play Pause, 2008). She is a former member and cofounder, with Kathleen Hanna and Johanna Fateman, of the music group Le Tigre. She has received grants and fellowships from Guggenheim Foundation, Andrea Frank Foundation, National Endowment of the Arts, and Rockefeller Foundation. -
LIGHTBOX FILM CENTER at INTERNATIONAL HOUSE PHILADELPHIA to SCREEN LAURA PARNES’ ‘TOUR WITHOUT END.’ Wednesday, September 12 at 7Pm
LIGHTBOX FILM CENTER AT INTERNATIONAL HOUSE PHILADELPHIA TO SCREEN LAURA PARNES’ ‘TOUR WITHOUT END.’ Wednesday, September 12 at 7pm Press Contact: [email protected] Philadelphia, PA–Lightbox Film Center at International House Philadelphia is pleased to announce the screening of Laura Parnes’ Tour Without End on Wednesday, September 12 at 7pm. This screening is part of Lightbox Film Center’s monthly Subversive Elements series dedicated to experimental film and moving image art. Parnes, a Philadelphia native and notable Tyler School of Art alumni, will be in attendance. The film features members of Gang Gang Dance, Julie Ruin, MEN, Eartheater, MGMT, Light Asylum and more. An official selection of the 2018 Sarasota Film Festival, Tour Without End is an experimental narrative comedy/documentary hybrid film. Casting real-life musicians, artists, and actors as fictional bands on tour, the film evolves into a cross-generational commentary on contemporary culture and politics in the Trump era. Shot over the course of 4 years between 2014-2018, at over 15 DIY music spaces in and around NYC, Tour Without End functions as a time capsule made more apparent by the shuttering of many of the films’ locations due to NYC’s rapid gentrification. The film’s multitude of characters are legendary performers in the downtown NYC arts scene including Wooster Group founder Kate Valk, Jim Fletcher (The NYC Players), musicians Lizzi Bougatsos, (Gang Gang Dance), Kathleen Hanna (The Julie Ruin), Brontez Purnell (The Younger Lovers), Eileen Myles, Alexandra Drewchin (Eartheater), Nicole Eisenman, K8 Hardy, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum), JD Samson (MEN), Gary Indiana, Kembra Pfahler, (Voluptuous Horror of Karen Black), Rachel Mason, Tom McGrath, Matthew Asti (MGMT), Becca Blackwell, Christen Clifford, Alessandra Genovese (Crush), Rogelio Ramos (Love Pig), Kenya Robinson (Cheeky LaShae) and Neon Music (Youth Quake). -
School of Art 2021–2022
School of Art 2021–2022 BULLETIN OF YALE UNIVERSITY Series 117 Number 4 June 30, 2021 BULLETIN OF YALE UNIVERSITY Series 117 Number 4 June 30, 2021 (USPS 078-500) is published seventeen times a year (one time in May and October; three times in June and September; four times in July; five times in August) by Yale University, 2 Whitney Avenue, New Haven CT 06510. Periodicals postage paid at New Haven, Connecticut. Postmaster: Send address changes to Bulletin of Yale University, PO Box 208227, New Haven CT 06520-8227 Managing Editor: Kimberly M. Go≠-Crews Editor: Lesley K. Baier PO Box 208230, New Haven CT 06520-8230 The closing date for material in this bulletin was June 10, 2021. The University reserves the right to amend or supplement the information published in this bulletin at any time, including but not limited to withdrawing or modifying the courses of instruction or changing the instructors. ©2021 by Yale University. All rights reserved. The material in this bulletin may not be reproduced, in whole or in part, in any form, whether in print or electronic media, without written permission from Yale University. Content Questions regarding the editorial content of this publication may be referred to Taryn Wolf, Assistant Dean for Academic A≠airs, Yale School of Art. Inquiries All inquiries regarding admission to graduate programs in art should be addressed to the O∞ce of Academic Administration, Yale School of Art, 1156 Chapel Street, PO Box 208339, New Haven CT 06520-8339; telephone, 203.432.2600; email, art.admissions@ yale.edu. Website http://art.yale.edu The School of Art Bulletin is primarily a digital publication, available in HTML and pdf at https://bulletin.yale.edu. -
May 18, 2020 Price $8.99
PRICE $8.99 MAY 18, 2020 THE INNOVATORS ISSUE MAY 18, 2020 4 GOINGS ON ABOUT TOWN 11 THE TALK OF THE TOWN Evan Osnos on the Trump-China pandemic fight; voyeurs onscreen; groceries fresh from the back yard; movie marquees; a nurse’s poems; where gloves go. CORONAVIRUS CHRONICLES James Somers 16 Breathing Room Racing to solve the ventilator crisis. SHOUTS & MURMURS Libby Gelman-Waxner 23 If You Ask Me: The Last Quarantine Think Piece ANNALS OF ACTIVISM Jia Tolentino 24 Can I Help You? How the mutual-aid movement promises relief. A REPORTER AT LARGE Ben Taub 30 Five Oceans, Five Deeps A quest to get to the bottom of the world. PROFILES Alex Ross 46 The Fearless Pianist Revolutionizing performance in lockdown. FICTION Jonathan Lethem 54 “The Afterlife” THE CRITICS BOOKS Thomas Meaney 58 The making of Henry Kissinger. 63 Briefly Noted Hua Hsu 65 What can fungi teach us? Dan Chiasson 68 Wanda Coleman’s many identities. THE THEATRE Alexandra Schwartz 70 When Zoom becomes a stage. THE ART WORLD Peter Schjeldahl 72 Dorothea Lange and Félix Fénéon. POEMS David Biespiel 29 “Men Waiting for a Train” Rae Armantrout 50 “Our Days” COVER Anita Kunz “Class of 2020” DRAWINGS David Sipress, Emily Bernstein, Oren Bernstein, Michael Maslin, Maddie Dai, Liana Finck, Frank Cotham, Avi Steinberg, Roz Chast, Kendra Allenby, Charlie Hankin, Mitra Farmand SPOTS Edward Steed PUZZLES & GAMES DEPT. CONTRIBUTORS Ben Taub (“Five Oceans, Five Deeps,” Jia Tolentino (“Can I Help You?,” p. 24) p. 50), a staff writer, is the recipient of is a staff writer. -
Killing Ourselves Is Not Subversive AM
1 This is an Accepted Manuscript of an article published by Taylor & Francis in Women: A Cultural Review on 16 July 2015, available online: http://www.tandfonline.com/doi/full/10.1080/09574042.2015.1035021 Abstract: This article draws on material from the riot grrrl archives at New York University’s Fayles Library to examine the culture of ‘zine’ production in US riot grrrl communities during the 1990s. After investigating the relationship between the political issues and aesthetic strategies explored by riot grrrl literary producers, I analyse the points of tension arising within the movement which become illuminated by zines’ revelatory confessional modes, or what Mimi Thi Nguyen has called riot grrrl’s ‘aesthetics of access’. I subsequently enquire after the implications for riot grrrl politics of understanding experiences of oppression and transgressive behaviour as cultural commodities. Finally, I go on to trace the commodification of the transgressive feminist gesture in mainstream popular culture and contemporary US online feminist activism. Biographical information Emily Spiers is a Research Associate at the Department of European Languages and Cultures at Lancaster University. Her doctoral thesis explored modes of popular contemporary feminist writing in the US, Britain and Germany. She is currently researching feminist literary activism in relation to spoken-word poetry. Keywords: Riot grrrl; zines; postmodernism; autofiction; the Internet; transgression; feminism; popular culture 2 ‘Killing Ourselves is not Subversive’: Riot -
How to Take Care of Unruly Archives
How to take care of unruly archives A conversation with Lisa Darms, editor and archivist of The Riot Grrrl Collection Lucie Ortmann (Essen) During the 1990s, members of the US American feminist movement Riot Grrrl articulated their message not only in punk rock, but particularly in multimedia fanzines and flyers, which they hand-lettered, drew, then copied and stapled and distributed themselves. These publications came out irregularly and they often lack dates or numbers. The book publication The Riot Grrrl Collection (The Feminist Press 2013), edited by Lisa Darms, presents a plethora of printed matter previously only available in local and limited editions to a new, broader audience. Alongside the reproduction of entire zines, excerpts and flyers, the book also includes samples of letters, hand- written lyrics and drawings, all presented in roughly chronological order. The size of the printed matter and other pieces of writing, sketches and drawings is adapted to the pages of the book – this makes the size of the individual documents more uniform, which helps legibility, but also subdues differences at first sight. © Lucie Ortmann: How to take care of unruly archives | MAP 9 (Mai 2018) | www.perfomap.de 1/10 Fig. 1-3, Flyer [The Revolution starts Here and Now…]. Kathleen Hanna, 1990. The Kathleen Hanna Papers. [Darms 2013: 18-19]. By courtesy of Kathleen Hanna; Zine: Riot Grrrl no. 4. Molly Neuman, Allison Wolfe, and others, circa 1992. The Kathleen Hanna Papers. [Darms 2013: 46-47]. By courtesy of Molly Neumann, Allison Wolfe; Zine: My Life with Evan Dando, Popstar. Kathleen Hanna, 1993. The Kathleen Hanna Papers. -
LORRAINE O'grady June 15, 2016
LORRAINE O'GRADY June 15, 2016 Born September 21, 1934, Boston, MA. Based in New York, NY. website: http://lorraineogrady.com gallery: ALEXANDER GRAY ASSOCIATES, New York, NY http://www.alexandergray.com/artists/lorraine-oand39grady/ mailto:[email protected] archive: WELLESLEY COLLEGE ARCHIVES, Wellesley, MA Lorraine O’Grady Papers, 1952-2012 Finding Aids: HTML: http://academics.wellesley.edu/lts/archives/MSS.3.html PDF:http://www.wellesley.edu/sites/default/files/assets/departments/libraryandtechnology/files/ archives/mss.3.pdf ART RESUME Education 1951 H.S., Girls Latin School, Boston, MA. Honors in English and Latin, First Place in History. National Honor Society. 1956 B.A., Wellesley College, Wellesley, MA. Major: Economics. Minor: Spanish Literature. Freshman Honors. 1965-67 M.F.A. Candidaate, Iowa Writers Workshop, University of Iowa, Iowa City, IA. Fiction. Performances 1979-80 The Dual Soul—Part 1: Divine Twins; Part 2: Come Into Me, You. Written for performance-artist protagonist of unproduced filmscript. 1980 Rosie O'Grady's Pub, NYC. Sweet Rosie O'Grady. Private guerrilla performance. 1980 Just Above Midtown Gallery, NYC. Mlle Bourgeoise Noire Goes to JAM. Guerrilla performance. 1980 Just Above Midtown Gallery, NYC. Nefertiti/Devonia Evangeline. Director: Linda Goode-Bryant. 1981 Elizabeth Irwin High School, NYC. Nefertiti/Devonia Evangeline. In "Acting Out: The First Political Performance Art Series." Curator: Lucy Lippard. 1981 Just Above Midtown Gallery, NYC. Gaunt Gloves. Performance and lecture by Mlle Bourgeoise Noire. 1981 New Museum for Contemporary Art, NYC. Mlle Bourgeoise Noire Goes to the New Museum. Guerrilla performance. 1981 Feminist Art Institute, NYC. Nefertiti/Devonia Evangeline. 1982 Allen Memorial Art Museum, Oberlin College, Oberlin, OH. -
Trouble Songs
trouble songs Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-proft press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afoat. Contri- butions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t fnd a welcoming port elsewhere. Our ad- venture is not possible without your support. Vive la open-access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) trouble songs. Copyright © 2018 by Jef T. Johnson. Tis work carries a Cre- ative Commons BY-NC-SA 4.0 International license, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the authors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and trans- formation, you distribute your rebuild under the same license. http://creative- commons.org/licenses/by-nc-sa/4.0/ First published in 2018 by punctum books, Earth, Milky Way. https://punctumbooks.com ISBN-13: 978-1-947447-44-8 (print) ISBN-13: 978-1-947447-45-5 (ePDF) lccn: 2018930421 Library of Congress Cataloging Data is available from the Library of Congress Book design: Vincent W.J. -
Claudette Schreuders
June 4, 2019 By Wallace Ludel Claudette Schreuders Claudette Schreuders, The End, 2018, patinated bronze, enamel paint, 2 x 11 x 2". In this gallery’s back room, several smaller-than-life-size figurative sculptures by South African artist Claudette Schreuders stand or lie in various states of intimate repose. The show’s title, “In the Bedroom,” refers to the air of domesticity surrounding the body of work. Her subjects—carved from wood or cast in bronze—are mostly engaged in private acts, be it brushing their hair, lying in bed, or having spectacularly dull sex. The brilliantly titled Little Table, 2018, shows a straight couple mid-coitus; the woman is leaning forward, bent over the titular item of furniture, while the man mounts her from behind. She wears only a bra, and he an undershirt. The looks of ennui on their faces suggest that they are not enmeshed in the most passionate affair. Burning Secret, 2018, one of the few sculptures here to delve steadfast into the world of metaphor, shows a nude figure standing with her eyes closed. Her body is pockmarked by bits of fire. A 2019 bust of South African president Cyril Ramaphosa is also present. It feels singular because it’s not loosely based on someone from Schreuders’s personal life, asserting that the political and the personal are inextricably entwined—something we’re all too familiar with in the United States. Included in the exhibition are several prints and paintings on paper. Among them is Budgie, 2018, a lithograph depicting a lonely pet parakeet attentively sitting on its perch.