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Here Was No Film in the Camera! It Was a Friend’S Camera, of Junkies, B-List Antiheroes, and the Many Faces That Defined Course, but It All Just Aroused My Curiosity
MicK RocK WORDS BY ADAM SHERREtt PHOTOGRAPHY BY JERRY BUttLES Mick Rock is the first to admit he has no photographic heroes. are obviously inspired by rock ‘n’ roll, and he certainly won’t Why should he when he’s been at the forefront of rock 'n' roll tell you it’s the other way around. Like him, without the music, for the last four decades? The name Mick Rock alone rolls off I wouldn’t be a photographer. The clothes just came with the acts. the tongue and conjures up images of underground glam and the sweat-soaked decadence of an era that is as much alive Would you say rock ‘n’ roll helped put you into the initial places today as it was when he first shot Syd Barrett in 1969. you needed to be to start your career? Or did you seek out the correlation of photography, fashion and music with a focus of We had the chance to sit down with Mick to chat about knowing you needed to become a part of that scene? the role of fashion and music in his dynamic photographic It was a bit less thought out than that. I mean, I just took an career. What started with an acid trip, a camera without acid trip, picked up a camera and shot – well, I thought I was any film, and a beautiful muse has eventually found himself shooting pictures – of this particular young lady. It turns out capturing multiple generations of artists, tastemakers, A-list there was no film in the camera! It was a friend’s camera, of junkies, B-list antiheroes, and the many faces that defined course, but it all just aroused my curiosity. -
Omnibus Press 2017-18 Featuring Loudon Wainwright III, Jimmy
Omnibus Press 2017-18 Featuring Loudon Wainwright III, Jimmy Webb, Robert Forster, Leonard Cohen, Pamela Des Barres, Ian Hunter, Mod Art & a Few of Our Other Favourite Things. 2017/18 CATALOGUE 2017/18 CATALOGUE CONTENTS For over forty years Omnibus Press has been publishing the stories that matter from the music NEW TITLES 4 world. Omnibus Press is the World’s/Europe’s GIFT GUIDE 26 largest specialist publisher devoted to music writing, with around thirty new titles a year, with a backlist ROCK 28 of over two hundred and seventy titles currently in THE BEATLES 37 print and many more as digital downloads. POP 39 Omnibus Press covers pop, rock, classical, metal, country, psyche, prog, electronic, dance, PUNK & ALTERNATIVE 41 rap, jazz and many more genres, in a variety of formats. With books that tell stories through graphic art and photography, memoirs and biographies, Omnibus has constantly evolved its list METAL 44 to challenge what a music book can be and this year we are releasing our first talking books. Among Omnibus Press’ earliest acquisitions was Rock Family Trees, by acclaimed music archivist GRAPHIC NOVELS 45 Pete Frame, three editions of which remain in print to this day and have been the basis of two PHOTOGRAPHY 46 BBC TV series. Over the following decades Omnibus published many best-selling, definitive biographies on some of rock’s greatest superstars. These include Morrissey & Marr: The Severed CLASSICAL 48 Alliance by Johnny Rogan, Dear Boy: The Life Of Keith Moon by Tony Fletcher, Uptight: The Velvet Underground Story by Victor Bockris, Catch A Fire: The Life of Bob Marley by Timothy White, RHINEGOLD 49 Stevie Nicks - Visions, Dreams & Rumours by Zoë Howe, Without Frontiers The Life And Music OTHER 50 Of Peter Gabriel by Daryl Easlea and Under The Ivy: The Life & Music of Kate Bush and George Harrison: Behind The Locked Door, both by Graeme Thomson, all of which are regularly cited by THE LITTLE BLACK SONGBOOK 51 magazines and critics as being amongst the finest rock biographies ever published. -
IPG Spring 2020 Rock Pop and Jazz Titles
Rock, Pop, and Jazz Titles Spring 2020 {IPG} That Thin, Wild Mercury Sound Dylan, Nashville, and the Making of Blonde on Blonde Daryl Sanders Summary That Thin, Wild Mercury Sound is the definitive treatment of Bob Dylan’s magnum opus, Blonde on Blonde , not only providing the most extensive account of the sessions that produced the trailblazing album, but also setting the record straight on much of the misinformation that has surrounded the story of how the masterpiece came to be made. Including many new details and eyewitness accounts never before published, as well as keen insight into the Nashville cats who helped Dylan reach rare artistic heights, it explores the lasting impact of rock’s first double album. Based on exhaustive research and in-depth interviews with the producer, the session musicians, studio personnel, management personnel, and others, Daryl Sanders Chicago Review Press chronicles the road that took Dylan from New York to Nashville in search of “that thin, wild mercury sound.” 9781641602730 As Dylan told Playboy in 1978, the closest he ever came to capturing that sound was during the Blonde on Pub Date: 5/5/20 On Sale Date: 5/5/20 Blonde sessions, where the voice of a generation was backed by musicians of the highest order. $18.99 USD Discount Code: LON Contributor Bio Trade Paperback Daryl Sanders is a music journalist who has worked for music publications covering Nashville since 1976, 256 Pages including Hank , the Metro, Bone and the Nashville Musician . He has written about music for the Tennessean , 15 B&W Photos Insert Nashville Scene , City Paper (Nashville), and the East Nashvillian . -
2017 CATALOGUE for Over Forty Years Omnibus Press Has Been Publishing the Stories That Matter from the Music World
2017 CATALOGUE For over forty years Omnibus Press has been publishing the stories that matter from the music world. Omnibus Press is the World’s/Europe’s largest specialist publisher devoted to music writing, with around thirty new titles a year, with a backlist of over two hundred and seventy titles currently in print and many more as digital downloads. Omnibus Press covers pop, rock, classical, metal, country, psyche, prog, electronic, dance, rap, jazz and many more genres, in a variety of formats. With books that tell stories through graphic art and photography, memoirs and biographies, Omnibus has constantly evolved its list to challenge what a music book can be and this year we are releasing our first talking books. Among Omnibus Press’ earliest acquisitions was Rock Family Trees, by acclaimed music archivist Pete Frame, three editions of which remain in print to this day and have been the basis of two BBC TV series. Over the following decades Omnibus published many best-selling, definitive biographies on some of rock’s greatest superstars. These include Morrissey & Marr: The Severed Alliance by Johnny Rogan, Dear Boy: The Life Of Keith Moon by Tony Fletcher, Uptight: The Velvet Underground Story by Victor Bockris, Catch A Fire: The Life of Bob Marley by Timothy White, Stevie Nicks - Visions, Dreams & Rumours by Zoë Howe, Without Frontiers The Life And Music Of Peter Gabriel by Daryl Easlea and Under The Ivy: The Life & Music of Kate Bush and George Harrison: Behind The Locked Door, both by Graeme Thomson, all of which are regularly cited by magazines and critics as being amongst the finest rock biographies ever published. -
David Bowie's Urban Landscapes and Nightscapes
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 17 | 2018 Paysages et héritages de David Bowie David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger Electronic version URL: http://journals.openedition.org/miranda/13401 DOI: 10.4000/miranda.13401 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Jean Du Verger, “David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text”, Miranda [Online], 17 | 2018, Online since 20 September 2018, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/13401 ; DOI: https://doi.org/10.4000/miranda.13401 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text 1 David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger “The Word is devided into units which be all in one piece and should be so taken, but the pieces can be had in any order being tied up back and forth, in and out fore and aft like an innaresting sex arrangement. This book spill off the page in all directions, kaleidoscope of vistas, medley of tunes and street noises […]” William Burroughs, The Naked Lunch, 1959. Introduction 1 The urban landscape occupies a specific position in Bowie’s works. His lyrics are fraught with references to “city landscape[s]”5 and urban nightscapes. The metropolis provides not only the object of a diegetic and spectatorial gaze but it also enables the author to further a discourse on his own inner fragmented self as the nexus, lyrics— music—city, offers an extremely rich avenue for investigating and addressing key issues such as alienation, loneliness, nostalgia and death in a postmodern cultural context. -
TEACHERS PACK GLAM! the PERFORMANCE of STYLE 8 February – 12 May 2013
TEACHERS PACK 8 February – 12 May 2013 May –12 8 February OF STYLE GLAM! THE PERFORMANCE Peter Hujar Candy Darling on her Deathbed 1974 © The Peter Hujar Archive, LCC; courtesy Pace/MacGill Gallery, New York INTRODUCTION Glam, a visually extravagant pop style The pack is designed to support teachers and exploded across Britain during the years educators in planning a visit to the exhibition 1971–5. The exciting, futuristic sounds, with a collection of ideas, workshops and extravagant fashions and glitter-dappled points for discussion. The activities are personas emerging in this era had their suitable for all ages and can be adapted to roots firmly in British art schools. your needs before, during and after your visit. Glam! The Performance of Style is the A special school group price for exhibitions first exhibition to explore glam style is available if you book and pay at least and sensibility in depth. The exhibition two weeks in advance. Groups of students investigates artistic developments in under 18 years of age £4 and over 18s £4.40. Britain, Europe and North America through Teachers wanting to make a research trip the prism of glam, examining painting, to the exhibition in advance of a visit are sculpture, installation art, film, photography welcome to do so free of charge. Please and performance. book in advance. To book a visit please call 0151 702 7400. Bringing together more than 100 artworks, the exhibition will reveal the genealogy of For further details about visiting glam. Themes of camp, exaggerated identity, Tate Liverpool with your group see: androgyny, eroticism and dandyism will be www.tate.org.uk/learn/teachers/school-visits- explored in the work of David Hockney, tate-liverpool Andy Warhol, Cindy Sherman and many more. -
Glam Rock by Barney Hoskyns 1
Glam Rock By Barney Hoskyns There's a new sensation A fabulous creation, A danceable solution To teenage revolution Roxy Music, 1973 1: All the Young Dudes: Dawn of the Teenage Rampage Glamour – a word first used in the 18th Century as a Scottish term connoting "magic" or "enchantment" – has always been a part of pop music. With his mascara and gold suits, Elvis Presley was pure glam. So was Little Richard, with his pencil moustache and towering pompadour hairstyle. The Rolling Stones of the mid-to- late Sixties, swathed in scarves and furs, were unquestionably glam; the group even dressed in drag to push their 1966 single "Have You Seen Your Mother, Baby, Standing in the Shadow?" But it wasn't until 1971 that "glam" as a term became the buzzword for a new teenage subculture that was reacting to the messianic, we-can-change-the-world rhetoric of late Sixties rock. When T. Rex's Marc Bolan sprinkled glitter under his eyes for a TV taping of the group’s "Hot Love," it signaled a revolt into provocative style, an implicit rejection of the music to which stoned older siblings had swayed during the previous decade. "My brother’s back at home with his Beatles and his Stones," Mott the Hoople's Ian Hunter drawled on the anthemic David Bowie song "All the Young Dudes," "we never got it off on that revolution stuff..." As such, glam was a manifestation of pop's cyclical nature, its hedonism and surface show-business fizz offering a pointed contrast to the sometimes po-faced earnestness of the Woodstock era. -
Fort Mason, San Francisco | March 17-18 ARAABMUZIK RAFAËL ROZENDAAL CHROMEO DILLON FRANCIS SCOTT SNIBBE KAREN O K.K
Fort Mason, San Francisco | March 17-18 ARAABMUZIK RAFAËL ROZENDAAL CHROMEO DILLON FRANCIS SCOTT SNIBBE KAREN O K.K. BARRETT MICHAEL STIPE INTERPOL GLASSER STEFAN SAGMEISTER WARREN FISCHER TIM NACKASHI NEON INDIAN BARNEY CLAY MICK ROCK UNDISCLOSABLE BATTLES DANIELS ARCADE FIRE CHRIS MILK AARON KOBLIN ANIMAL COLLECTIVE BLACK DICE CASEY REAS RASHAAD NEWSOME ZIGELBAUM + COELHO SOFTLAB SOSOLIMITED SUPERMARCHÉ ROBYN MARY FAGOT SPANK ROCK FRIENDS WITH YOU DIPLO ANDY MUELLER CURT MORGAN DANNY PEREZ GANG GANG DANCE JAMES POWDERLY SPIKE JONZE MARK ESSEN NICK ZINNER RADICAL FRIEND MOS ARCHITECTS FOOL’S GOLD TAKESHI MURATA RADICAL FRIEND H5 YUKSEK PHOENIX EDOUARD SALIER ANTI VJ ELECTRONIC SHADOW BIRDY NAM NAM 1024 ARCHITECTURE TRAFIK CHILLY GONZALES ROMAIN GAVRAS ABDEL BOUNANE BRODINSKI DJ MEHDI SUPERSCRIPT2 ERIC DALBIN JEAN- The Creators Project is a global celebration of art and technology. MARIE TASSY JÉRÉMIE ROZAN LADJ LY JONAS & FRANÇOIS LAURENT GARNIER SEMICONDUCTOR UNITED VISUAL ARTISTS SCANNER RON ARAD JONATHAN Founded by a revolutionary partnership between Intel and VICE, The Creators Project supports visionary artists across multiple disciplines who are using GLAZER CAT EYE’S ANISH KAPOOR SPIRITUALIZED ONE OF US FIELD FLORENCE technology in innovative ways to push the boundaries of creative expression. + THE MACHINE HELLICAR + LEWIS QUAYOLA KELE OKEREKE SQUAREPUSHER HUSSEIN CHALAYAN PAUL B. DAVIS MARK RONSON CASSETTE PLAYA MATTHEW The Creators Project is proud to have supported and united more than 150 artists from all around the world. HERBERT JOSHUA THIRD MIRA CALIX JAMES MURPHY BJÖRK JAMES LAVELLE TINCHY STRYDER TREVOR JACKSON JAMIE XX ZILCH DATABASE AMON TOBIN Now entering its third year, The Creators Project includes an online community of millions, documentary videos, a content-creation studio, and a traveling event series SUPERUBER CANTONI + CRESCENTI JUM NAKAO MARCELO CAMELO ALEXANDRE which kicks off 2012 with its first-ever San Francisco event. -
MICK ROCK Legendary Rock Photographer Mick Rock Is Often Referred to As
MICK ROCK Legendary rock photographer Mick Rock is often referred to as “The Man Who Shot the Seventies,” due to his iconic images of Syd Barrett, David Bowie, Lou Reed, Iggy Pop, Queen, The Sex Pistols, The Ramones, Blondie, The Rocky Horror Picture Show, and more. He has shot more than 100 album covers. His recent subjects include Snoop Dogg, Father John Misty, Lenny Kravitz, Janelle Monae, Jimmy Fallon, The Black Keys, Karen O, Ellie Goulding, Alicia Keys, Michael Buble, Daft Punk, Perry Farrell, Motley Crue, TV On The Radio, Pharrell, Josh Groban, Flaming Lips, Nas, Rufus Wainwright, Kings of Leon, R Kelly, The Black Lips and Queens of The Stone Age. Rock was instrumental in creating many key rock images, including album covers for Syd Barrett’s Madcap Laughs, Lou Reed’s Transformer and Coney Island Baby, Iggy and The Stooges’ Raw Power, Queen’s Queen II (recreated for their classic music video Bohemian Rhapsody) and Sheer Heart Attack, The Ramones’ End of the Century, and Joan Jett’s I Love Rock ‘n’ Roll, among many others. He was the chief photographer on the films The Rocky Horror Picture Show, Hedwig and the Angry Inch and Shortbus and recently shot special stills for the TV version of Rocky Horror, featuring the transgender actress Laverne Cox as Frank n Furter. He also produced and directed seminal music videos for David Bowie including: John, I’m Only Dancing, Jean Genie, Space Oddity, and Life On Mars. In recent years he has published a series of books, mostly based on his classic images, including: • A Photographic Record -
MICK ROCK P Surname) Wasinlondon Born In1948,One Rey,Del Kate Moss and Father John Misty
NIGHTMARE “PhilPHOTOSHOOT? Lynott, 1973. I’d just met him. We got on very well. My photos appeared on the back covers of three Thin Lizzy albums. But it was my first time using a Hasselblad and I loaded the film the wrong way round. But he was very amused by it all and we did a great re-shoot!” Rock and Pop in New York in 1999 With Bowie in 1973 Rock with Syd Barrett in 1971 “MUSIC IS MICK ROCK WHAT PUMPED MICK ROCK 54 MY DESIRE TO 55 COVER STAR PURSUE THIS. With Lou Reed in 1975 I LOVED THE figures. Somehow, those two shots seemed to ROCKERS, THE have defined the images of both forever.” What eventually led Rock to both Pop and POWER THEY Reed was his fateful decision to photograph Bowie in 1972 – and he went on to document STAR COVER COVER STAR COVER PROJECTED He documented the 1970s, working with some of the most famous artists Bowie’s meteoric rise. “Somebody had given With a relaxed Freddie Mercury in the 80s MICK ROCK ONSTAGE, THEIR me a copy of Hunky Dory, which had yet to on the planet, including David Bowie, Bob Marley, Queen and the be a hit, although it was starting to percolate. UNPREDICTABLE I loved Life On Mars?, for which I made the Sex Pistols. Teri Saccone meets legendary photographer Mick Rock video in the summer of 1973. Besides the NATURE” music, I’d seen some pictures of David, with his innovative hairdo and wild outfits and I hotographer Mick Rock’s searing of three children. -
Late Style, Disability, and the Temporality of Illness in Popular Music
UNIVERSITY OF CALIFORNIA Los Angeles Singing at Death’s Door: Late Style, Disability, and the Temporality of Illness in Popular Music A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Tiffany Naiman 2017 © Copyright by Tiffany Naiman 2017 ABSTRACT OF THE DISSERTATION Singing at Death’s Door: Late Style, Disability, and the Temporality of Illness in Popular Music by Tiffany Naiman Doctor of Philosophy in Musicology University of California, Los Angeles, 2017 Professor Robert W. Fink, Co-Chair Professor Raymond L. Knapp, Co-Chair This dissertation investigates musical expressions of temporal alterities in works created by popular music artists, identifying their aesthetic responses as their bodies become ill, disabled, and they become more aware of mortality. I propose a critical, hermeneutic, and theoretical method drawn from Edward Said’s appropriation of Adorno’s expression “late style” that I have designated ill style, a form of creativity within a temporality of illness. Late style is discernable in works produced, paradigmatically, at the end of one’s career in “old age,” but late style may also be understood as an influence on artistic output at any stage of life if the subject is experiencing untimeliness and a disruption in access to the communal understanding of futurity and time, a possible consequence of factors other than age. I contend that late style, accelerated by illness, disrupts Western cultural attempts at ignoring precarious and finite nature of existence; the resulting expressions of lateness ask audiences to do the same. I offer a way in which to think more critically about what scholars consider late style, how it functions in popular ii music studies and society, and how it intersects with the fields of disability, gender, queer, and critical race studies, and the social sciences. -
A Videografia De David Bowie (1969-2017)
MESTRADO HISTÓRIA DA ARTE, PATRIMÓNIO E CULTURA VISUAL «Sound and Vision»: a videografia de David Bowie (1969-2017). Contributos para o estudo do videoclipe. Volume II Andréa Michelle dos Santos Diogo M 2018 Andréa Michelle dos Santos Diogo «Sound and Vision»: a videografia de David Bowie (1969-2017). Contributos para o estudo do videoclipe Volume II – Apêndices Dissertação realizada no âmbito do Mestrado em História da Arte, Património e Cultura Visual, orientada pelo Professor Doutor Hugo Daniel da Silva Barreira e coorientada pelo Professor Doutor Nuno Miguel de Resende Jorge Mendes Faculdade de Letras da Universidade do Porto setembro de 2018 Índice Índice .......................................................................................................................................... 3 Nota introdutória ........................................................................................................................ 6 APÊNDICES – A ....................................................................................................................... 8 1. Levantamento da produção discográfica de David Bowie (1964-2017) ............................ 8 2. Levantamento da videografia de David Bowie (1969-2017) ........................................... 16 3. Levantamento da filmografia de David Bowie e respetivas personagens interpretadas .. 19 APÊNDICES – B ..................................................................................................................... 20 1. Tabela geral do corpus de estudo ....................................................................................