DOCSLIB.ORG

Town Without Pity • 4:13 09 • Hype No Tease • 5:24

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Town Without Pity • 4:13 09 • Hype No Tease • 5:24 JAMES WHITE’S www.zerecords.com UNDER THE INFLUENCE / WHITE SPIRIT The 21st century has produced a new generation of young contenders of all kinds, who have, within months, spread a new string of names across the planet such as The Rapture, Playgroup, LCD Sound system, Liars, Yeah Yeah Yeahs, Radio 4 and the likes, just to name a few. Once again the heat was initiated in NYC, even though its Lower East Side epicenter « cleaned up » by Giuliani and Bloomberg, has moved a few blocks east and across the river to Brooklyn and Williamsburg. It might be wise to remind the younger ones among us that the origins of this new musical cycle is for the most part rooted in the NO WAVE movement of which James Siegfried aka James White, aka James Chance is undoubtedly one of its most prominent figures. New York City was hands down the artistic telluric center of the second half of the 20th century, especially from the 70’s, on. Rising from the ashes of the Velvet Un- derground, a slew of local bands redefined the aesthetics of rock’n’roll which the merchants of the temple hastened to rename under various designations, such as Punk, New Wave, No Wave, Jazz-Funk or even Disco and Disco- Punk without forgetting to mention the original Electro designation pioneered by the band Suicide. One of the indispensable and emblematic figures of the mid-70’s is of course James Chance. James Siegfried, born in Milwaukee in 1953, began his musical journey on the piano at the age of seven. His style evolved towards a more « free » sound, influenced by the likes of Thelonious Monk and Cecil Taylor, which clearly frightened his teachers at the Wisconsin Music Conservatory. From early ad- olescence on, he set his sights on the alto sax. John Coltrane’s, « Love Su- preme », opens up a whole new world to him, at which time the young prodigy immerses himself in the works of Albert Tayler, Lester Young and Charlie Parker and puts together the James Siegfried Band with future Jazz Messen- ger Brian Lynch at the trumpet. He participates in the post Velvet/Stooges rock band DEATH but ends up leaving his native Wisconsin where he clearly finds no one to understand his musical style. In 1976, New York looks more like a Martin Scorcese film set than Giulani’s post-9/11 aseptic Disneyland. The city’s downtown heroes are The Ramones, the Talking Heads, Patti Smith, Television, Blondie, Richard Hell and Johnny Thunder’s Heartbreakers. But it’s most certainly John Lurie’s Lounge Lizards that are truly representative of the Free Jazz Loft spirit of which James wished to be the heir. “James saw the obvious. Jazz had entirely ceased to be dance music and had become an entirely intro-spectator sport. It had lost everything below the waist. It had lost its sexuality and its funk. Jazz had also lost its audience to rock’n’roll, but despite glorious moments, that too was quickly being frozen into cliché and caricature. Then this white dude with free licks comes booga- looing in on the pointiest shoes you’ve ever seen and it’s okay again for high- IQ booty-shaking”. Glenn O’Brien But the exclusive world of New York jazz looks down on these new poseurs and particularly this « white dude », who gets his kicks from listening to Or- nette Coleman, James Brown or Funkadelic. So James turns towards the Lower East Side « rock groups ». He explores venues such as CBGB’s, the Mudd Club or Max’s Kansas City and, hiding behind the pseudonym « James Chance », sets out to link together the bare threads of punk, funk and free jazz. He produces an electrifying sound that will subsequently give birth to a musical current from which today’s young contenders will draw their plagia- rized « inspiration ». In 1977, James is still an odd ball with his unclassable and non-negotiable Teenage Jesus & the Jerks, with Lydia Koch, soon to be known as Lydia Lunch, occasional cocktail waitress at CBGB’s, Reck a Japa- nese bass player, and Bradly Field on the drums. James revisits nihilism in a world of rock’n’roll in which new wave rules and is especially lucrative for the majors, particularly in Europe. In reaction to this, our newcomers are going to develop a style. Two other bands from New York’s arty downtown scene turn the clubs into rehearsal spaces since none of the band members know how to play of an instrument. The first band, China, has just renamed itself Mars. Formed around Marc Cunnigham, China Berg, Sumner Crane and Nancy Ar- len. They have recorded two titles: 3E and 11 000 volts with Jay Dee Daugh- erty supported by Patti Smith who wanted to start her own independent label “Mer Records” (en Français dans le texte), but too busy dealing with her own success finally entrusted me with the recordings that I released on my first label, pre-ZE: « Rebel Records »... The second sensation, the DNA trio, is built around Arto Lindsay on guitar, the Japanese Ikue Mori on drums and Tim Wright on bass. At the same time, go- ing by the name of the Pill Factory, James and Arto begin recording the origi- nal soundtrack of Diego Cortes’ film: « Grutsy Elvis », featuring Anya Phillips, future muse and manager of James’. Four titles are released on a maxi ZE records in 1978, one of them being a totally improbable cover of Elvis « That’s when your heartaches begin ». Inevitable ego problems at the heart of Teen- age Jesus lead James to leave the band and start his own: The Contortions. With the painter and actor James Nares who takes on the role of the guitar- ist and will be replaced a few months later by Jody Harris of the band Loose Screws, a combo with which he jams occasionally. Pat Place, a visual artist from Chicago, takes up slide guitar, while Reck the Japanese bass player of Teenage Jesus joins the band bringing with him his compatriot Chico Hige on the drums. They eventually both leave for Japan, leasing their place to George Scott and Don Christensen, other member of Loose Screws. Adele Bertei becomes the keyboard player after having learned her skills in Cleve- land with Peter and the Wolves with the fonder of Pere Ubu, Peter Laughner. With this line up, in the spring of 1978, James Chance & the Contortions play for every club in town, opening indifferently for Suicide, the Cramps or Mars, transforming every one of their sets into barroom brawls. This phenomenon undoubtedly enhances James’ bad boy reputation. He confides to the Soho News: « If somebody comes to see me, they have to pay. And not just in money... New York people are such assholes-so cool and blasé. They think they can just sit and listen to anything and it won’t affect them. So I decided I just had to go beyond the music, and physically assault them... The first time I actually did it, really hurt people, was in Soho. I really fucking hate Soho. It was a benefit for this artsy magazine, and all these artsy-fartsy people were sitting on the floor-and if there’s one thing I can’t stand it’s people sitting on the floor. See, there was all this room, and no tables, and I figured everybody was going to dance. But they just sat ». James attacks. The first rows won’t resist, but seeing his size, it’s often him who ends up with a black eye, which doesn’t stop him in the least. It’s during one of these battles, in the middle of summer 78, that James eyes first cross those of Anya Phillips. A glance that said: « Don’t you dare do that to me! » It was love at first glare! Anya was a famous wanabe downtown scenester, the brain behind the conception of the Mudd club and a talented fashion de- signer. An actress in the films of the periods’ New Cinema, “Grutzy Elvis” di- rected by Diego Cortes, « Rome 78 » by James Nares, where she plays the Queen of Sheba or in « The Foreigner », by Amos Poe. She became James’ soul sister. She took care of management, of the band’s look and played an essential role in the development of James’ budding career and the different incarnations that were going to become his trademark. Sadly, Anya died of cancer in 1981. She was only 26! In may, a sort of festival in the Soho Artist Space Gallery involving all of New York’s arty/punky/noisy members, including the Contortions, Mars, DNA, Teen- age Jesus & the Jerks, Boris Policeband, Theoretical Girls, etc... was most certainly the starting point of a movement, which the local press immediately took hold of and baptized: No Wave. At the same time Chris Blackwell from Island Records, who had missed the first wave of New York bands three years earlier, including: Blondie, Television, Talking Heads, Patti Smith or Richard Hell, had entrusted Brian Eno with a budget for a demo to record the best of these newcomers. His plan being the signing of future record deals. But none of the bands ended up being to his taste so Eno put together four titles of his favorite bands: Mars, DNA, Teenage Jesus and The Contortions on a compi- lation which he baptized NO NEW YORK and which came out in November 1978. James Chance & The Contortions signed with ZE records for their first album and entered the Blank Tape Studio in the fall of 1978.
Load more

Recommended publications
  • Unobtainium-Vol-1.Pdf
    Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more.
    [Show full text]
  • Drone Music from Wikipedia, the Free Encyclopedia
    Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice,
    [Show full text]
  • PUNK/ASKĒSIS by Robert Kenneth Richardson a Dissertation
    PUNK/ASKĒSIS By Robert Kenneth Richardson A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY WASHINGTON STATE UNIVERSITY Program in American Studies MAY 2014 © Copyright by Robert Richardson, 2014 All Rights Reserved © Copyright by Robert Richardson, 2014 All Rights Reserved To the Faculty of Washington State University: The members of the Committee appointed to examine the dissertation of Robert Richardson find it satisfactory and recommend that it be accepted. ___________________________________ Carol Siegel, Ph.D., Chair ___________________________________ Thomas Vernon Reed, Ph.D. ___________________________________ Kristin Arola, Ph.D. ii ACKNOWLEDGEMENTS “Laws are like sausages,” Otto von Bismarck once famously said. “It is better not to see them being made.” To laws and sausages, I would add the dissertation. But, they do get made. I am grateful for the support and guidance I have received during this process from Carol Siegel, my chair and friend, who continues to inspire me with her deep sense of humanity, her astute insights into a broad range of academic theory and her relentless commitment through her life and work to making what can only be described as a profoundly positive contribution to the nurturing and nourishing of young talent. I would also like to thank T.V. Reed who, as the Director of American Studies, was instrumental in my ending up in this program in the first place and Kristin Arola who, without hesitation or reservation, kindly agreed to sign on to the committee at T.V.’s request, and who very quickly put me on to a piece of theory that would became one of the analytical cornerstones of this work and my thinking about it.
    [Show full text]
  • CINEMA PUNK: No Wave E Os Filmes De Vivienne Dick
    UFF - UNIVERSIDADE FEDERAL FLUMINENSE INSTITUTO DE ARTES E COMUNICAÇÃO SOCIAL CURSO DE GRADUÇÃO EM CINEMA E AUDIOVISUAL HELENA DE ABOIM LESSA CINEMA PUNK: No Wave e os filmes de Vivienne Dick NITERÓI 2016 1 HELENA DE ABOIM LESSA CINEMA PUNK: NO WAVE E OS FILMES DE VIVIENNE DICK Trabalho de Conclusão de curso apresen- tado ao Curso de Cinema e Audiovisual da Universidade Federal Fluminense - UFF - como requisito para obtenção do título de Bacharel. Orientador: Cezar Migliorin Co-orientador: Frederico Benevides Niterói 2016 2 AGRADECIMENTOS Agradeço a meus pais: mãe, pai e Licinio por todo apoio e ajuda com as letras. Aos meus irmãos e amigos, Pedro e Fernando. Ao Lucas, pela força master e carinho nas crises. Aos irmãos do casarão: Pedro, Lucas, Luquitos, Catu, Gusta, Felix, Rober, Brenda, Fafi, Caio, João, Cian, Glaucus, Liza, Lazuli, Tomaz, Akira, Flor. Ao Fred, que além de orientador é amigo. Ao Cezar, pelas aulas que instigam a produzir e refletir sempre. À Marina, Vanessa, Livia, Jorge, Petrus, Patrissa, Luiza, Will, Elena, Érico, outros companheiros de batalha eterna que estiveram junto nesse tempo. Ao Petrus, de novo, que compartilhou comigo esse universo todo. Ao Érico, que faz a gente ver junto tudo de bonito que tem nas coisas. À Aline, que possibilitou o acesso vir- tual aos filmes. À Rosiléia, por toda descontração e amor. À Mayara, Morgana, Tuninho, Joca e Bartô, pelos olhares, chamego e companhia. A todos que nos instigam a criar novos mundos. Em homenagem à Vi Subversa. 3 Resumo Essa monografia pretende mapear o punk, seus modos de existência, valores e a aplicação de seus processos em produções cinematográficas, conceituando uma ideia de cinema punk.
    [Show full text]
  • The Kitchen Welcome's Back Avant-Garde Composer And
    For Immediate Release January 20, 2015 THE KITCHEN WELCOME’S BACK AVANT-GARDE COMPOSER AND GUITARIST GLENN BRANCA TO PRESENT THE PREMIERE OF THE THIRD ASCENSION, FEBRUARY 23-24 Latest Development of Branca’s Influential 1981 Work The Ascension, Featuring Reg Bloor, Arad Evans and Owen Weaver The Kitchen welcomes back American avant-garde composer and guitarist Glenn Branca after more than twenty years for the premiere of The Third Ascension, a new work for guitar, bass, and drums. Conducted by Branca, this piece is the latest development of Branca’s influential 1981 work The Ascension, in which he experiments with resonances generated by alternate tunings for multiple electric guitars. Joining Branca will be Reg Bloor, Brendon Randall-Myers, Luke Schwartz and Arad Evans on guitar, Greg McMullen on bass, and Owen Weaver on drums. These shows will be recorded live for a subsequent album release. Artist Richard Prince has created a special poster for the concert, along with a limited-edition print. As a founder of the bands Theoretical Girls and Static in the seventies, Branca’s signature blend of hard rock with a contemporary music sensibility has earned him the title of "godfather of alternative rock." The importance of his music, particularly of The Ascension, is felt through the lasting impact it has made on its followers. In a 10.0-rated review of the album’s 2003 reissue, Pitchfork writes, “from these bloodied guitar strings and twisted metal carnage you can discern not just the euphoric guitar bliss of everyone from Sonic Youth to My Bloody Valentine, but also the mighty crescendos of Sigur Rós, Mogwai, Black Dice, Godspeed You Black Emperor!, or whomever, here executed with a plasma-like energy and melodic/harmonic structure still light-years beyond the forenamed.” The album has been called "one of the greatest rock albums ever made" (All Music) and “simply essential 20th-century music" (Tiny Mix Tapes).
    [Show full text]
  • The Young Gods, Des Dieux Toujours Jeunes
    UNE PUBLICATION No 10 DU COLLECTIF MAI 2007 MENSUEL Daily Rock GRATUIT TOUTE L’ACTUALITÉ BRÛLANTE DU ROCK EN ROMANDIE Edito THE YOUNG GODS, DES Rockeuses, Rockeurs, Alors que la mode des chaussures à roulettes qui débarque nous agace DIEUX TOUJOURS JEUNES déjà, sans compter le dernier single de ce morveux de Timberlake qui est Conférences soniques, tournée génial et que le CD de Cascada qui acoustique ou relecture du film semble avoir lobotomisé une grande ‘Woodstock’. On avait croisé ces partie de la planète, je me dis qu’on dernières années les Young Gods est mal barré en ce mois de mai. dans des univers à la fois calmes et passablement éloignés de ce Heureusement quelques valeurs sûres nous sauvent qui leur avait ouvert les portes d’une dépression post-lobo certaine. L’ami Reznor qui, soit dit en passant, s’y connaît en dépression, de la notoriété. Voilà qu’un peu arrive à point nommé avec son Year Zero, sans prévenir, Franz Treichler, Al électroniquement vôtre, talonné par les culteux Comet et Bernard Trontin nous locaux Young Gods, qui la méritaient cette couv’ ! balancent un bon vieux coup de rock derrière la tête. Avec les douze Et si les festivals s’en mêlent, on ne va plus savoir où donner de la tête. En vrac, NIN aux Arènes titres d’une efficacité renversante d’Avenches, Arctic Monkeys, Eiffel, Arcade Fire de ‘Super Ready/Fragmenté’, ils et le dieu Rob Plant, sur la plaine de l’Asse, sans prouvent que la jeune garde a compter le toujours très Black-eyed rassemblement encore pas mal de boulot pour sacré d’Interlaken, Greenfield de son prénom et la leur piquer la place.
    [Show full text]
  • The History of Rock Music: 1976-1989
    The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore 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) The New Wave (These are excerpts from my book "A History of Rock and Dance Music") New York's new Boheme TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. 1976 was a watershed year: the music industry was revitalized by the emergence of "independent" labels and the music scene was revitalized by the emergence of new genres. The two phenomena fed into each other and spiraled out of control. In a matter of months, a veritable revolution changed the way music was produced, played and heard. The old rock stars were forgotten and new rock stars began setting new trends. As far as white popular music goes, it was a sort of Renaissance after a few years of burgeoisie icons (think: Bowie), conservative sounds (country-rock, southern boogie) and exploitation of minorities (funk, reggae). During the 1970s alternative rock had survived in niches that were highly intellectual, namely German rock and progressive-rock (particularly the Canterbury school). They were all but invisible to the masses. 1976 was the year when most of those barriers (between "low" and "high" rock, between "intellectual" and "populist", between "conservative" and "progressive", between "star" and "anti-star") became not only obsolete but meaningless.
    [Show full text]
  • UT28 Angel Face.P65
    Lost Sounds From A Wild Odyssey Laurent Bigot unveils a tale of Parisien proto-punk ‘electric music’ from the 1970s y esteemed colleague Johan Some may think they didn’t achieve much in me if I knew this band, the Rolling Stones: I had Kugelberg has already mentioned their prime (less than ten shows in two years, no idea who he was talking about. He played me Angel Face a couple of times in no records), losing singers and drummers at a “The Last Time” and I was hooked. I went to see M Spinal Tap pace. Still, they were a pretty unique them at the Olympia theater. Outside, there were the pages of Ugly Things. When, by a stroke bunch of rock & roll lovers that only did what a few police trucks all around the place. That of luck, I ended up on bassist Pascal Regoli’s they wanted, refusing to bend in front of any made people nervous and they started to harass website, I jumped at the occasion to ask him trend. They belong to that short period of time the cops. So the police charged and everybody to tell their tale. Thanks to him, I got in touch when punk rock wasn’t a cliché yet, when the did a runner. What a mess! I didn’t see much with Riton Angel Face, who had formed the blank generation was building something new else back then, I was a real homebody. band with Pascal’s brother, Julien, and with instead of being enslaved to their own form of Around 1968, I started to live with a friend in Henri Flesh who was one of their (too many) conformism.
    [Show full text]
  • Album of the Week: Ty Segall – <I>Freedom's Goblin</I>
    Album of the Week: Ty Segall – Freedom’s Goblin Freedom’s Goblin by Ty Segall If you have been reading this review column for the past couple of years, there’s one thing that you should realize by now. At least once a year I’m going to write about a certain musician’s new album due to his immense talent and his continuously prolific output. That certain musician is Los Angeles garage rock phenom Ty Segall, and his 10th album Freedom’s Goblin came out Jan 26 via Drag City Records. The album is a lot more wide-ranging and experimental than his previous releases. Nothing sounds similar to another, and that says a lot for a record that has 19 songs on it. Certain albums can take the mind on an adventure and Freedom’s Goblin achieves that through its variety. It goes from one end of the spectrum to the other with tunes encompassing jazz, punk, new wave and acoustic styles. It’s ingenious and schizophrenic at the same time. Usually a record follows an identity, but this one is the antithesis of that. Segall’s new artistic output is truly all over the place and that’s what makes it so amazing. One trait that a musical savant will always possess is an incredible amount of fearlessness: They’ll write a song how they want without conforming to what’s “popular” or “trendy.” It’s a testament to them staying true to themselves while also making a conscious effort to progress as an artist. There’s a sense of sheer individuality that’s inspiring and makes one wish others would emulate.
    [Show full text]
  • Text-Based Description of Music for Indexing, Retrieval, and Browsing
    JOHANNES KEPLER UNIVERSITAT¨ LINZ JKU Technisch-Naturwissenschaftliche Fakult¨at Text-Based Description of Music for Indexing, Retrieval, and Browsing DISSERTATION zur Erlangung des akademischen Grades Doktor im Doktoratsstudium der Technischen Wissenschaften Eingereicht von: Dipl.-Ing. Peter Knees Angefertigt am: Institut f¨ur Computational Perception Beurteilung: Univ.Prof. Dipl.-Ing. Dr. Gerhard Widmer (Betreuung) Ao.Univ.Prof. Dipl.-Ing. Dr. Andreas Rauber Linz, November 2010 ii Eidesstattliche Erkl¨arung Ich erkl¨are an Eides statt, dass ich die vorliegende Dissertation selbstst¨andig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt bzw. die w¨ortlich oder sinngem¨aß entnommenen Stellen als solche kenntlich gemacht habe. iii iv Kurzfassung Ziel der vorliegenden Dissertation ist die Entwicklung automatischer Methoden zur Extraktion von Deskriptoren aus dem Web, die mit Musikst¨ucken assoziiert wer- den k¨onnen. Die so gewonnenen Musikdeskriptoren erlauben die Indizierung um- fassender Musiksammlungen mithilfe vielf¨altiger Bezeichnungen und erm¨oglichen es, Musikst¨ucke auffindbar zu machen und Sammlungen zu explorieren. Die vorgestell- ten Techniken bedienen sich g¨angiger Web-Suchmaschinen um Texte zu finden, die in Beziehung zu den St¨ucken stehen. Aus diesen Texten werden Deskriptoren gewon- nen, die zum Einsatz kommen k¨onnen zur Beschriftung, um die Orientierung innerhalb von Musikinterfaces zu ver- • einfachen (speziell in einem ebenfalls vorgestellten dreidimensionalen Musik- interface), als Indizierungsschlagworte, die in Folge als Features in Retrieval-Systemen f¨ur • Musik dienen, die Abfragen bestehend aus beliebigem, beschreibendem Text verarbeiten k¨onnen, oder als Features in adaptiven Retrieval-Systemen, die versuchen, zielgerichtete • Vorschl¨age basierend auf dem Suchverhalten des Benutzers zu machen.
    [Show full text]
  • Sonic Youth: Celebrity DIY
    Essays — Peer Reviewed ZoneModa Journal. Vol. 7 (2017) https://doi.org/10.6092/issn.2611-0563/7585 ISSN 2611-0563 Sonic Youth: celebrity DIY Alice Militello Pubblicato: 29 dicembre 2017 Abstract In New York City’s early ’80s music scene and beyond, the band Sonic Youth represents a special case of the celebrity’s concept. It cannot be reduced to the record sales or scandals, like other famous people. They don’t have the typical self-destructive streak of the stars of the show business, which is the basis of the fortune and, at the same time, the defeat of other musicians. They don’t even have the cult of personality, which has destabilized other crews of the time. However Sonic Youth, during their three decades of career, have been able to find a space in the music scene, to involve a broad segment of audience and lovers; becoming a kind of model for younger generations of musicians. Furthermore, the members of Sonic Youthcan be considered such as influencers ahead of his time, thanks to their ability to find new talents. The present study aims to analyze the concept of celebrity applied to the Sonic Youth language, from 1981 (starting year) to 1994, the year of Experimental Jet Set, Trash No Star album, which brings the group to that DIY (Do-It-Yourself) punk ethics that denotes them from the beginning; to plot the New York’s environment in which they fit; and how the entry into the mainstream world changes the aesthetics of the group. In other words, the research is a breakthrough of the band’s long career, marking the highlights that made them the Sonic Youth.
    [Show full text]
  • MARS 1 Recull De Premsa Pressbook Dossier De Prensa MARS 2 Recull De Premsa Pressbook Dossier De Prensa MARS 3 Recull De Premsa
    pressbook dossier de prensa MARS _1 recull de premsa pressbook dossier de prensa MARS _2 recull de premsa pressbook dossier de prensa MARS _3 recull de premsa MARS The Complete Studio Recordings: NYC 1977-1978 [G3G/Spooky Sound; 2003]. Rating: 7.9 I'm looking up from an interview with William Burroughs, at a mariachi group as they smile and try to find their balance on a downtown train. Their gestures of voice, guitar, and rhythm are promptly drowned in brake drones, the shuddering of the decrepit old tracks, and plastic-protected ads for acne surgery and model-proffered Budweisers. All I can hear through the din is the disquieting roar of Mars and singer China Burg's sinister slurring: "What I put together, I can take apart." Since I refuse to spend the $30 for a CD copy of No New York, I'm grateful to have the complete recordings of Mars (count one seven-inch, four tracks from NNY, and one EP-- a half-hour in total) howling through my headphones. For those keeping track, since the digital age, another complete discography of Mars already came out on the Atavistic label, but with vague sonic tweaking by Foetus scraper Jim Thirlwell. Purists might argue that since band member Mark Cunningham used a different master tape for transferring the Mars EP (even restoring its binaural recording quality), it's still not going to sound like the "murkier" frequencies of the original wax. From the metallic sparkle of the midnight blue card sleeve to the insightful commentary offered by the remaining members (Sumner Crane passed away earlier this year), this limited edition package is too exquisite to overlook, no matter how distressing the aural mess splattered inside.
    [Show full text]