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Microtonal University (Mu)
MICROTONAL UNIVERSITY (MU) a virtual microtonal university SCHEDULE September 5, 2021 – August 28, 2022 A Program of the American Festival of Microtonal Music Inc. (AFMM) Johnny Reinhard - Director [email protected] MU’s Definition of “Microtonal Music”: “All music is microtonal music cross-culturally. Twelve-tone equal temperament is in itself a microtonal scale, only it enjoys exorbitant attention and hegemonic power, so we focus on the other tuning arrangements.” Johnny Reinhard, MU Director Financial Structure: $50. annual subscription; after September 1, 2021 annual membership increases to $200. Checks must be made out fully to: American Festival of Microtonal Music Inc. Or, please go to www.afmm.org and look for the PayPal button at the bottom of the American Festival of Microtonal Music’s website on the front page. MU c/o Johnny Reinhard Director, MU/AFMM 615 Pearlanna Drive San Dimas, CA 91773 347-321-0591 [email protected] 2 MU MU – a virtual microtonal university Beginning September 5, 2021, the American Festival of Microtonal Music (AFMM) presents a new project: MU Faculty members are virtuoso instrumentalists, composers and improvisers Meredith Borden (voice/interstylistic) Svjetlana Bukvich (synthesizer/electronics) Jon Catler (guitar/rock) Philipp Gerschlauer (saxophone/jazz) Johnny Reinhard (bassoon/interstylistic) – Director of MU Manfred Stahnke (viola/music composition) Michael Vick (multi-instrumental/technology) Using various platforms, MU will make available a host of different courses, instruction, entertainment, connections, -
Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Scarica Qui Il Numero Del Journal in Formato
DIGICULT Digital Art, Design & Culture Fondatore e Direttore: Marco Mancuso Comitato consultivo: Marco Mancuso, Lucrezia Cippitelli, Claudia D'Alonzo Editore: Associazione Culturale Digicult Largo Murani 4, 20133 Milan (Italy) http://www.digicult.it Testata Editoriale registrata presso il Tribunale di Milano, numero N°240 of 10/04/06. ISSN Code: 2037-2256 Licenze: Creative Commons Attribuzione-NonCommerciale-NoDerivati - Creative Commons 2.5 Italy (CC BY-NC-ND 2.5) Stampato e distribuito tramite Peecho Sviluppo ePub e Pdf: Loretta Borrelli Cover design: Eva Scaini INDICE Lucrezia Cippitelli Newmediafix. Edoardo Navas E La Net-information ............................................. 3 Marco Mancuso Pipslab, Audience Is The Artist ................................................................................. 13 Bertram Niessen Vidauxs, Netlabel Per Vedere E Ascoltare .............................................................. 21 Domenico Sciajno Piombino Experimenta ............................................................................................. 24 Alex Dandi House Generation, Il Ritorno Di Jack ...................................................................... 28 Teresa De Feo Le Sintesi Sonore Di Mass .......................................................................................... 31 Simone Bertuzzi Francisco Lopez: Blind Listening ............................................................................. 34 Beatrice Ferrario Computer Sicuro, Ma Per Chi? ................................................................................ -
Discourse on Disco
Chapter 1: Introduction to the cultural context of electronic dance music The rhythmic structures of dance music arise primarily from the genre’s focus on moving dancers, but they reveal other influences as well. The poumtchak pattern has strong associations with both disco music and various genres of electronic dance music, and these associations affect the pattern’s presence in popular music in general. Its status and musical role there has varied according to the reputation of these genres. In the following introduction I will not present a complete history of related contributors, places, or events but rather examine those developments that shaped prevailing opinions and fields of tension within electronic dance music culture in particular. This culture in turn affects the choices that must be made in dance music production, for example involving the poumtchak pattern. My historical overview extends from the 1970s to the 1990s and covers predominantly the disco era, the Chicago house scene, the acid house/rave era, and the post-rave club-oriented house scene in England.5 The disco era of the 1970s DISCOURSE ON DISCO The image of John Travolta in his disco suit from the 1977 motion picture Saturday Night Fever has become an icon of the disco era and its popularity. Like Blackboard Jungle and Rock Around the Clock two decades earlier, this movie was an important vehicle for the distribution of a new dance music culture to America and the entire Western world, and the impact of its construction of disco was gigantic.6 It became a model for local disco cultures around the world and comprised the core of a common understanding of disco in mainstream popular music culture. -
E Guide the Travel Guide with Its Own Website
Londonwww.elondon.dk.com e guide the travel guide with its own website always up-to-date d what’s happening now London e guide In style • In the know • Online www.elondon.dk.com Produced by Blue Island Publishing Contributors Jonathan Cox, Michael Ellis, Andrew Humphreys, Lisa Ritchie Photographer Max Alexander Reproduced in Singapore by Colourscan Printed and bound in Singapore by Tien Wah Press First published in Great Britain in 2005 by Dorling Kindersley Limited 80 Strand, London WC2R 0RL Reprinted with revisions 2006 Copyright © 2005, 2006 Dorling Kindersley Limited, London A Penguin Company All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the copyright owner. A CIP catalogue record is available from the British Library. ISBN 1 4053 1401 X ISBN 978 1 40531 401 5 The information in this e>>guide is checked annually. This guide is supported by a dedicated website which provides the very latest information for visitors to London; please see pages 6–7 for the web address and password. Some information, however, is liable to change, and the publishers cannot accept responsibility for any consequences arising from the use of this book, nor for any material on third party websites, and cannot guarantee that any website address in this book will be a suitable source of travel information. We value the views and suggestions of our readers very highly. Please write to: Publisher, DK Eyewitness Travel Guides, Dorling Kindersley, 80 Strand, London WC2R 0RL, Great Britain. -
The Anchor, Volume 118.04: September 22, 2004
Hope College Hope College Digital Commons The Anchor: 2004 The Anchor: 2000-2009 9-22-2004 The Anchor, Volume 118.04: September 22, 2004 Hope College Follow this and additional works at: https://digitalcommons.hope.edu/anchor_2004 Part of the Library and Information Science Commons Recommended Citation Repository citation: Hope College, "The Anchor, Volume 118.04: September 22, 2004" (2004). The Anchor: 2004. Paper 16. https://digitalcommons.hope.edu/anchor_2004/16 Published in: The Anchor, Volume 118, Issue 4, September 22, 2004. Copyright © 2004 Hope College, Holland, Michigan. This News Article is brought to you for free and open access by the The Anchor: 2000-2009 at Hope College Digital Commons. It has been accepted for inclusion in The Anchor: 2004 by an authorized administrator of Hope College Digital Commons. For more information, please contact [email protected]. September 2004 tHe "h" word ••••••• Hope College Holland, Michigan A student-run nonprofit publication Serving the Hope College Community for 118 years Campus HOUSE MAKEOVER TIME Briefs Campus ministries teams with Jubilee to English prof rejuvenate community iiini publishes new The Extreme House Makeover, held this past Saturday, was sponsored by Ju- children's book bilee Ministries, a local Christian out- Hcalhcr Sellers, professor f. ! reach program. of English, has a new book on Campus ministries promoted the the market. "Spike and project in chapel and the Gathering for Cubby's Ice Cream Island several weeks, but were still over- Adventure," features Seller's whelmed by the 200 students who turned corgi and aulhor/illusiraior out to help improve a house for low-in- Amy Young's black lab as two come families on 15th Street, as well as dogs trapped in a boat during businesses on 17ih Street. -
Phil Thornton Interview with Tim Lawrence
Phil Thornton interview with Tim Lawrence, “Love is the Message”, Swine, July 2005 In the last issue of Swine we reviewed Tim Lawrence’s superb history of disco, Love Saves The Day. Tim kindly agreed to answer some of our questions and we will hopefully be getting him up to the north west to talk about ‘Love Saves The Day’ and his other projects; he’s currently writing the eighties follow-up to LSD and a biography of Arthur Russell as well as leading the BA Music Culture: Theory & Production at University of East London. Tim has also written liner notes for the likes of David Mancuso, Marshall Jefferson and Masters at Work LPs and helps co-ordinate the London Loft parties. He’s also just had his second kid. In short he’s a very busy fellar, so we’d like to extend our porcine thanks to him and wish him all the best with his future projects. Swine: Disco has been a much maligned and misunderstood musical genre, what gave you the impetus to write LSD? Tim Lawrence: The initial plan was to write a book that focused on the late eighties and nineties. Then I was introduced to David Mancuso who nobody had really heard of at the time and he introduced me to this whole world of underground parties that I’d never heard of. Initially I was reluctant to get into the 1970s. Like so many early UK house heads, I just equated disco with cheese, but the more I found out about the downtown scene of the 1970s, the more I realised this was where nucleus of contemporary dance culture was formed. -
Arist Talk with Martin Beck and Cultural Theorist Tim Lawrence Mumok on the Occasion of the Exhibition Martin Beck
Arist Talk with Martin Beck and Cultural Theorist Tim Lawrence mumok On the occasion of the exhibition Martin Beck. rumors and murmurs, mumok presents Museum moderner Kunst a conversation between the artist and the renowned cultural theorist, Tim Lawrence, Stiftung Ludwig Wien Museumsplatz 1, 1070 Wien who has published widely on dance music and club culture in the USA. This conversation will begin with a discussion of the film Last Night, a thirteen-and-a-half- hour-work about a legendary loft party in New York. This film is a key part of this Artist Talk Martin Beck und Tim Lawrence Martin Beck retrospective. June 8, 2017, 7 pm Admission free On June 2nd, 1984, David Mancuso hosted the last Loft party at his home at 99 Prince Street in SoHo, New York City, before relocating to a new building in Alphabet Pressekontakt City. Staged on a weekly basis since Valentine’s Day 1970, initially at 647 Broadway in NoHo, the Loft became the key blueprint for the rise of contemporary DJ culture Karin Bellmann and what would soon come to be known as disco. They were by invitation only and T +43 1 52500-1400 [email protected] were defined by a unique combination of loft living, countercultural politics, audiophile sound, cross-genre music selections, all-night dancing, and a mirror ball. Katja Kulidzhanova T +43 1 52500-1450 Forced to leave Prince Street as a result of the spiraling real estate market, Mancuso [email protected] was ready to embrace the community underpinnings of the Lower East Side. -
Felix Issue 1103, 1998
19 If Issue October 1122 1998 KEEP THE CAT FREE EST 1949 The Students' Newspaper at Imperial College Death Knell for the NUS? MIST and Imperial College Stu• technically it is still a by Ed Sexton prices, and sometimes save an awful lot of money". dents' Unions are to hold a con• member. The decision improve on them. I le also David I lellard, while still insisting that U ference on surviving outside the to disaffiliate this academic year was claimed that Northern Services offers Ihe conference was a forum for exchang• NUS later this month. It is thought that made some months ago but, accodring "more flexibility", as universities can use ing ideas, was more forceful in his criti• the event will be attended by Union offi• to Sabih Behzad, the formal announce• other service providers as well (a scheme cism of the NUS. "UMIST leaving has got cers from many of Britain's top universi• ment will not be made until 4 November. prohibited to NUS members). "One of people thinking" he commented; "there ties. The NUS has asked UMIST to hold a uni• the advantages is it I Northern Services] is a growing discontent with the service The conference will take place on 30 versity-wide referendum on the issue is quite small" explained Mr Bibby. I le Ihey [the NUS] arc providing". Dave Hel• October at UMIST, and has been unoffi• before disaffiliating, which would be sim• denied he was going to the conference lard explained that his role at the con• cially titled 'CHESA: The Way of the ilar to the procedure followed when simply to promote Northern Services. -
Work Carried on at a Punishing Rate at the Paradise Garage. ''I Went in There with Michael Brody, His Lover Fred, and La
365 of 522 *** Work carried on at a punishing rate at the Paradise Garage. ‘‘I went in there with Michael Brody, his lover Fred, and Larry Levan,’’ says Nathan Bush. ‘‘We had sledgehammers, and we gutted the place ourselves.’’ The owners of Chameleon had put down additional concrete and a parquet floor, all of which had to go. ‘‘We broke it up and dumped it outside. I went there quite a few nights a week after work. After a while Michael had construction guys come in to do the job.’’ Brody, meanwhile, main- tained the ground floor as a parking lot. ‘‘He worked there during the day. I’d come by and we’d go upstairs. Different walls were going up and areas were being created. You could see the space being transformed little by little.’’ 7145 Lawrence / LOVE SAVES THE DAY / sheet The Paradise Garage officially opened in January 1978 to an ominous seasonal greeting: a snowstorm delayed the delivery of some sound equip- ment from Kentucky, and as a result the thousand-plus crowd was left standing in line for more than an hour in subzero temperatures. ‘‘I re- member being there that morning and asking Michael, ‘Do you think you’ll be able to open tonight?’ and his eyes just filled up with tears,’’ says Mel Cheren. ‘‘There was a downstairs area where you parked cars, and he could have brought the people in there to keep them out of the real cold, but there was so much confusion he didn’t think of it. The open- ing was a complete disaster, and it took Michael a couple of years to win those people back.’’ Others, however, have a less cataclysmic memory of the night. -
Aliens, Afropsychedelia and Psyculture
The Vibe of the Exiles: Aliens, Afropsychedelia and Psyculture Feature Article Graham St John Griffith University (Australia) Abstract This article offers detailed comment on thevibe of the exiles, a socio-sonic aesthetic infused with the sensibility of the exile, of compatriotism in expatriation, a characteristic of psychedelic electronica from Goatrance to psytrance and beyond (i.e. psyculture). The commentary focuses on an emancipatory artifice which sees participants in the psyculture continuum adopt the figure of the alien in transpersonal and utopian projects. Decaled with the cosmic liminality of space exploration, alien encounter and abduction repurposed from science fiction, psychedelic event-culture cultivates posthumanist pretentions resembling Afrofuturist sensibilities that are identified with, appropriated and reassembled by participants. Offering a range of examples, among them Israeli psychedelic artists bent on entering another world, the article explores the interface of psyculture and Afrofuturism. Sharing a theme central to cosmic jazz, funk, rock, dub, electro, hip-hop and techno, from the earliest productions, Israeli and otherwise, Goatrance, assumed an off-world trajectory, and a concomitant celebration of difference, a potent otherness signified by the alien encounter, where contact and abduction become driving narratives for increasingly popular social aesthetics. Exploring the different orbits from which mystics and ecstatics transmit visions of another world, the article, then, focuses on the socio- sonic aesthetics of the dance floor, that orgiastic domain in which a multitude of “freedoms” are performed, mutant utopias propagated, and alien identities danced into being. Keywords: alien-ation; psyculture; Afrofuturism; posthumanism; psytrance; exiles; aliens; vibe Graham St John is a cultural anthropologist and researcher of electronic dance music cultures and festivals. -
Love Saves the Day: a History of American Dance Music Culture, 1970-1979 Pdf, Epub, Ebook
LOVE SAVES THE DAY: A HISTORY OF AMERICAN DANCE MUSIC CULTURE, 1970-1979 PDF, EPUB, EBOOK Tim Lawrence | 528 pages | 02 Feb 2004 | Duke University Press | 9780822331988 | English | North Carolina, United States Love Saves the Day: A History of American Dance Music Culture, 1970-1979 PDF Book Con 2 CD Audio. Our website stock is shared with our physical shop and is updated constantly. Sep 02, Eric rated it it was amazing. Love saves the day : a history of American dance music culture, Add to Basket Used Condition: Good. L38 Leave a Reply Cancel reply Your email address will not be published. Sadly, the garage closed its doors a year later and Larry Levan has passed away. Condition: Good. Seller Inventory n. Jun 04, Gessy Alvarez rated it it was amazing. Because until you've read this, you might as well know nothing, nada, zilch. Record Cleaning Brush. Great tales of the humble and the ahubristic, of money, sex, and the utopia of the sound system. Special order direct from the distributor. I also appreciate that it talks about some areas out of New York City, but than again you can't talk about the development of dance music culture without talking about Frankie Knuckles and Chicago. Expansion: record pools, music labels, new clubs-- 7. Your email address will not be published. Opening with David Mancuso's seminal "Love Saves the Day" Valentine's party, Tim Lawrence tells the definitive story of American dance music culture in the s-from its subterranean roots in NoHo and Hell's Kitchen to its gaudy blossoming in midtown Manhattan to its wildfire transmission through America's suburbs and urban hotspots such as Chicago, Boston, San Francisco, Los Angeles, Newark, and Miami.