Anarchism and the Evolution of Rave / P. 12

Total Page:16

File Type:pdf, Size:1020Kb

Anarchism and the Evolution of Rave / P. 12 Honi Soit Week 9, Semester 1, 2020 / First printed 1929 Anarchism and the evolution of rave / p. 12 Reflections on student The beauty and history of On the urge to key a culture / p. 6 the piano / p. 9 luxury car / p. 17 LETTERS Acknowledgement of Country Letters Honi Soit is published on the stolen land of the Gadigal People of the Eora Nation. For over 230 years, First Nations people in this country have suffered from “Uh oh, WoCo” the destructive effects of invasion. The editors of this paper recognise that, as a team of settlers occupying the lands of the Bidjigal, Darug, Gadigal, Wangal and Wallumedegal people, we are beneficiaries of these reverberations that followed European settlement. As we strive throughout the year to offer a platform to the voices Dear Honi, religious paradigm then there is a flaw really matter what lens you’re looking at to the equivocation of Judaism and mainstream media ignores, we cannot meet this goal without providing a space for First Nations people to share their experiences and perspectives. A student paper which I’m a fan of the WoCo, but some within that logic because dwelling on Christianity through. It still stands that Israel, that among other things allows does not acknowledge historical and ongoing colonisation and the white supremacy embedded within Australian society can never adequately represent the students aspects of WoCo Honi have really biblical semantics is unlikely to lead it already dominates and informs public Israel to be legitimised as a state. But of the institution in which it operates. We seek to resist colonial violence and the racist power structures that serve to oppress those who are Indigenous to this land. bothered me this year. to the meaningful, ‘radical’ change the discourse, and its advocation has no well done WOCO, you have killed two Sovereignty was never ceded. Always was and always will be Aboriginal land. There are around 3 or so articles author would like to see. place in a ‘radical’ student newspaper. birds with one stone. By having one about/that at least vaguely concern Beyond this pro-Christianity I will of course acknowledge that article about Palestine, you have ticked Christianity in the edition. While of take, there is a notable absence of there is an article on the Kabala system off the Muslim representation box as course it’s topical within the context of interrogation or advocacy for the other that is very interesting and timely, well as the pro-Palestine take box. George Pell etc, one of these articles in less hegemonic Abrahamic religions, the and there is an article on Palestine, This is no comment on the authors of Contents Editorial particular goes so far as to *advocate* for two little gems of Judaism and Islam. which is an ever-important issue any particular pieces or the people who With autonomous editions and Marchant explores the unstoppable Christianity within a left-wing context. I This is especially odd as there have been to be platformed. But this focus on put the edition together. I am just saying mid-sem break, it’s been a relatively dominance of TikTok (p.11) - must seriously ask: with however many shootings in synagogues and mosques Christianity at the expense of Jewish that there is a lot of scope to do better Who? Weekly / 3 Editor in Chief: Matthew quiet three weeks here at the something I myself am still trying pages there are to fill, does such a take within the last 12-18 months, but it is and Muslim students’ marginalised in this regard! It’s better than putting a Forbes metaphorical office of Honi Soit to wrap my head around without warrant an entire page? A whole page apparently more apt to instead prop up perspectives is odd. With regard to the suicide bomber on the cover like they (and an even quieter six weeks at losing the will to live. about how we can interpret Christianity Christianity. Christianity, the religion Palestine article especially, it just seems did 2 years ago! News / 4 Editors: Nina Dillon Britton, the regular office). But really, who’s We’ve also got some analysis as ethical in order to fold a few people which is already propped up by the state, like another iteration of the tendency Matthew Forbes, Zhiquan Gan, even able to keep track of time at of student culture from Roisin into left-wing politics? If the only inherently within the legal system, and of the current USyd left to equivocate - Anonymous Robbie Mason, Angad Roy, Lara this point? Murphy and Laura de Feyter to way you can convince someone to by literally everything everywhere in the Palestine and Islam as one singular Analysis / 6 Despite much of the world remind us that that concept is still Sonnenschein, Ranuka Tandan, seemingly on pause, there’s still relevant, no matter how much enter progressive politics is through a West. From this perspective, it doesn’t being. It is this same rhetoric that leads Chuyi Wang, Madeline Ward, so much to keep track of, it’s the opposite seems to be true at Perpsective / 8 Lei Yao hard to keep track of ourselves. the moment (p.6–7). Beyond that, So thankfully we’ll soon all be musical theatre-lovers like myself “2020 is a nutty year!” Contributors: Michael downloading an app that does that are treated to Blake Lovely’s Profile / 9 2020 IS THE YEAR OF THE COMMUNISM ,MELTDOWNS, ENOUGH TO LICK HIS BOOTS.HE evil; there will be a thousand remedies.” Albinowski, Alvin Chung, Laura for us! interview with the composer of a de Feyter, Marlow Hurst, Grace Closer to home, we’re diving new musical about the ginger fury INVISIBLE ENEMY TAKING OVER LOCK-DOWNS, WAS A TRUE CHAMPION ! 4. “Happy are those who dare Culture / 10 headfirst into the empty swimming herself, Pauline Hanson (p. 9), and THE WORLD. SHOWDOWNS, CRACKDOWNS, IN AN ABNORMAL YEAR SUCH courageously to defend what they love.” Johnson, Tasia Kuznichenko, pool that is the USU Board elections, Tasia Kuznichenko reminds us of LIKE “MARS ATTACKS”, COVID AND BANKRUPTCIES FILL THE AS THE YEAR 2020 ,IT IS THE 5. “Habits change into character.” Blake Lovely, Juliette Marchant, in which 10 candidates fight for the the blissful nostalgia of game shows 19 CORONA VIRUS ATTACKS THE WORLD. YEAR OF THE COVID OVID ! 6. “Courage conquers all things; it Feature / 12 Rhian Mordaunt, Roisin chance to be a part of the union like the untouchable Spicks and WORLD AND DOMINATES THE IN A NORMAL YEAR , APRIL HERE ARE JUST 8 EIGHT OF even gives strength to the body.” Murphy, Shania O’Brien, Pailey that’s ended day trade at one of its Specks (p.16). WORLD. COVID 19 IS THE STORY 23 IS WILLIAM SHAKESPEARE’S OVID’S THOUSANDS OF QUOTES 7. “Either do not attempt at all or go Wang venues and laid off a bunch of staff A special shoutout goes to Robbie OF THE YEAR 2020 AD. BIRTHDAY ! 1. “Happy is the man who has broken through with it.” Opinion / 16 members in the last few months. Mason’s feature, which outlines FEARS, ANXIETIES, HE WAS THE GREATEST the chains which hurt the mind, and has 8. “A burden which is done well Artists: Nina Dillion Britton, It’s so easy to be snarky isn’t it? I an inspiring sense of collectivism find myself resorting to that attitude through music, as well as giving us PHOBIAS, TERRORS, ENGLISH WRITER OF ALL given up worrying once and for all.” becomes light.” Creative / 18 Alex Mcleay, Claire Ollivain, far too much at the moment. The a refreshing dose of some genuine SCARES, SCHIZOPHRENIA, TIME AND THE GREATEST 2. “Be patient and tough; someday your covid ovid, James Sherriff constant influx of celebrities gifting counterculture (p.12–13). IRRATIONALITY, IRRELEVANCE, PLAYWRIGHT OF ALL TIME. this pain will be useful to you.” jane wallace SRC / 20 us with their infinite wisdom about Many thanks to Emma Pham for ATHEISM , AGNOSTICISM , AS A WRITER, I AM NOT GOOD 3. “There are a thousand forms of Cover artist: Emma Pham “sticking together” and “getting the gorgeous cover art - never has a through this” surely didn’t help. Zoom call seemed so enticing - and Comedy / 23 Back cover artist: Perhaps writing my Culture piece to Ash Duncan for the fiery back Interested in reporting or Ash Duncan this week, which is mostly an cover art which depicts a situation I Write, excuse to vent my distaste for one would love to see happen. making art for Australia’s particular artist, didn’t help either. There’s plenty to be celebrated only remaining weekly Nudes, declarations of affection and hate It’s good to see then that there’s in this week’s Honi, so hopefully create and student newspaper? Email far less snide attitude to be found something here sparks whatever joy mail may be sent to: [email protected]. in other articles throughout this is able to be sparked inside of you. us at [email protected] week’s particularly culture-heavy or message us over on our edition. Grace Johnson provides Yours not-so-cynically, produce for Facebook, Twitter or Instagram an intimate history and celebration Matthew Forbes of the piano (p.14), while Juliette Honi Soit pages. Disclaimer: Honi Soit is published by the Students’ Representative Council, University of Sydney, Level 1 Wentworth Building, City Road, University of Sydney NSW 2006. The SRC’s operation costs, space and administrative support are financed by the University of Sydney.Honi Soit is printed under the auspices of the SRC’s directors of student publications: Maia Edge, Peiqing Fan, Nina Mountford, Roisin Murphy, Mikaela Pappou and Maxim Vishney.
Recommended publications
  • Funkids Amb La Black Music Big Band & Brodas Junior
    Dossier pedagògic — FunKids amb la Black Music Big Band Dossier pedagògic FunKids amb la Black Music Big Band & Brodas Junior Auditori de Girona Dossier pedagògic — FunKids amb la Black Music Big Band —3 Presentació —4 Fitxa artística —5 Black Music Big Band- BMBB —6 Què és una Big Band: una gran orquestra de jazz —7 Ball urbà — 2 Dossier pedagògic — FunKids amb la Black Music Big Band Presentació Qui no es mou amb la música funky? La proposta fresca Un espectacle i rítmica de l’Auditori Obert, en què els alumnes desco- briran l’essència de la música negra amb el funky i el soul amb més de 45 com a protagonistes. Un concert formatiu sobre la Big participants dalt Band, els seus instruments i estil amb explicacions en català i pinzellades en anglès (fàcilment comprensibles de l’escenari per als nens i nenes). Tot plegat de la mà dels joves de la entre músics i BMBB i al costat dels ballarins de Brodas Junior, que fa- ballarins ran del FunKids un concert ple d’espectacularitat i ritme! Qui no es mou amb la música funky? Arriba una proposta fresca i rítmica de l’Auditori Obert, en la qual els més joves descobriran l’essència de la música negra amb el funky i el soul com a protagonistes. Un concert formatiu i pedagògic que ens parlarà de la Big Band, els seus instru- ments i estil, el mon del ball urbà, etc.... Què podrem conèixer a FunKids? - Els seus instruments: secció de saxos, trompetes, trombons i la base rítmica - Escoltarem les diferents veus de la Black Music - Viurem els diferents estils de balls urbans com el locking, el popping, el bboying o el hiphop I tot això amb explicacions en català i pinzellades en anglès.
    [Show full text]
  • The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century
    The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century by Darryl Mark Cressman M.A. (Communication), University of Windsor, 2004 B.A (Hons.), University of Windsor, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © Darryl Mark Cressman 2012 SIMON FRASER UNIVERSITY Fall 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Darryl Mark Cressman Degree: Doctor of Philosophy (Communication) Title of Thesis: The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century Examining Committee: Chair: Martin Laba, Associate Professor Andrew Feenberg Senior Supervisor Professor Gary McCarron Supervisor Associate Professor Shane Gunster Supervisor Associate Professor Barry Truax Internal Examiner Professor School of Communication, Simon Fraser Universty Hans-Joachim Braun External Examiner Professor of Modern Social, Economic and Technical History Helmut-Schmidt University, Hamburg Date Defended: September 19, 2012 ii Partial Copyright License iii Abstract Taking the relationship
    [Show full text]
  • University Microiilms, a XERQ\Company, Ann Arbor, Michigan
    71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ...............................................
    [Show full text]
  • Women and Climate Change – Mehreen Faruqi
    Women and climate change – Mehreen Faruqi The theme for this morning “women and climate change’ combines two areas that I am adamant about making a change in – gender inequality and inaction on climate change. Unfortunately, in both areas we are disappointingly moving backwards in NSW and Australia, and I’d like to highlight some of these issues separately before looking into the interconnection between climate change and women. I grew up in Pakistan, a country that ranks 135 out of 136 in the global gender gap. So from an early age I was acutely aware of the inequality and discrimination that exists in law as well as societal norms which actually prevents women from access to education, work opportunities or fully participating in decision- making. Living in Pakistan, I always imagined prosperous countries like Australia having achieved gender equality in all spheres of life. So I was surprised when I arrived in Sydney 22 years ago and started my postgraduate studies in engineering, only to discover there was only one female academic amongst a fifty odd male teachers in the school of civil and environmental engineering at my university. Of course, judging gender equality is much more sophisticated than just measuring numbers in one particular institution and profession, but it is a good indicator of existing marginalisation. There is no doubt that much has been achieved through the successive waves of feminism over the last century. We’ve fought hard and won many battles - the right to vote and to run for parliament, to join the workforce and pursue careers in all professions.
    [Show full text]
  • Techno-Punk and Terra-Ism
    Making a Noise – Making a Difference: Techno-Punk and Terra-ism GRAHAM ST JOHN UNIVERSITY OF QUEENSLAND Abstract This article charts the convergence of post-punk/post-settler logics in the techno-punk development in Australia. Exploring how punk would become implicated in the cultural politics of a settler society struggling for legitimacy, it maps the ground out of which Labrats sound system (and their hybrid outfit Combat Wombat) arose. It provides an entry to punk through an analysis of the concept of hardcore in the context of cultural mobilisations which, following more than two centuries of European colonisation, evince desires to make reparations and forge alliances with Indigenous people and landscape. To achieve this, the article traces the contours and investigates the implications of Sydney’s techno-punk emergence (as seen in The Jellyheads, Non Bossy Posse, Vibe Tribe and Ohms not Bombs), tracking the mobile and media savvy exploits of 1990s DIY sound systems and techno terra-ists, aesthetes and activists adopting intimate and tactical media technologies, committing to independent and decentralised EDM creativity, and implicated in a movement for legitimate presence. Keywords techno, anarcho-punk, hardcore, sound systems, postcolonialism, Sydney techno-punk scene Figure 1: Outback Stack. Photo by Pete Strong Dancecult: Journal of Electronic Dance Music Culture 1(2) 2010, 1-28 ISSN 1947-5403 ©2010 Dancecult http://www.dancecult.net/ 2 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 2 Making a Difference “Why do they keep calling our generation, generation x, when actually we’re genera- tion y?... Why? Because we’re the one’s asking the questions”.
    [Show full text]
  • 2018 Fall Olympics Events and Rules: Game 1: Flip Cup- 5 Games
    2018 Fall Olympics Events and Rules: Game 1: Flip Cup- 5 games • Teams of 4 line up across the table from each other. • Each player has approximately half a cup of beer. The amount should be the same for each player. • The goal is for each player to chug their drink and then flip their empty solo cup using the edge of the table so that it lands upside down. • Once a cup is successfully flipped, the next player will than need to drink their beer and then flip the cup. • This is a relay race so the first team to have all their beer finished and their cups flipped wins. • Winning of team receives 1 point for each of the 5 games. Winning team remains at their table, losing team rotates to next table over. Game 2: Dizzy Bat – 2 Games • 4 players on each team • There will be 2 players on each side of a 20 yard “field” • Side A: Person 1 will do 5 spins with bat, then chug their beer, then run to side B with bat in hand • Person 1 from side A will hand bat to person 2 on Side B who then does the same…. 5 spins w/ bat, chug, then run to Side A to person 3…. Repeat until person 4 crosses line at sign A. • First team to get person 4 across side A wins. • Teams will be lined up 10 yds apart from each other (no tripping, adjusting the cones or interfering with the competing team or you will be given a 10 second penalty each time).
    [Show full text]
  • Legislative Council
    New South Wales Legislative Council PARLIAMENTARY DEBATES (HANSARD) Fifty-Sixth Parliament First Session Thursday, 11 August 2016 Authorised by the Parliament of New South Wales TABLE OF CONTENTS Motions .................................................................................................................................................... 57 Women of the Future Scholarship ....................................................................................................... 57 Newcastle Unity in Diversity Festival ................................................................................................. 57 Canterbury-Bankstown Bulldogs Donation to White Ribbon Australia .............................................. 57 Cooks Hill Surf Life Saving Club Redevelopment.............................................................................. 57 Business of the House .............................................................................................................................. 58 Postponement of Business ................................................................................................................... 58 Suspension of Standing and Sessional Orders: Order of Business ...................................................... 58 Order of Business ................................................................................................................................. 58 Committees .............................................................................................................................................
    [Show full text]
  • Origin Al Ar Ticle
    Journal of Nursing, Social Studies, Public Health and Rehabilitation 3–4, 2011, pp. 264–269 MOTIVATION FOR USING ILLEGAL DRUGS AT FREETEKNO PARTIES Alena Kajanová1, Aneta Klečacká2 1University of South Bohemia, Faculty of Health and Social Studies, České Budějovice, Czech Republic 2A student of MUNI in Brno, branch of study – social work, Czech Republic Submitted: 2011-03-02 Accepted: 2011-09-12 Published online: 2011-12-15 Abstract The knowledge acquired about the freetechno subculture by the general public in the Czech Republic has been obtained exclusively through its negative image associated with consumption of socially illegal drugs as it is depicted in the mass media and which has also been substantiated with results of addictological and sociological surveys. The objective of our paper is to identify whether there is a connection between the type of drugs used at freetekno parties and the freetekno subculture in the sense of subjectively perceived connection between the type of used drugs and the specific type of a dance party. Another objective is to outline whether the possibility to buy/use a drug represents the priority motivation for visiting a party or only makes the atmosphere of an even as such complete. We selected the qualitative research, techniques of semi-structured interviews and participant observation in the party environment as the research method. The research set comprised of participants in randomly selected freetekno parties (N=10). The results of the research show that music and the overall atmosphere of an event with an accent on its tribal character are stated by respondents as the principal motivation for visiting a party.
    [Show full text]
  • Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews На Arrhythmia Sound
    2/22/2018 Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews на Arrhythmia Sound Home Content Contacts About Subscribe Gallery Donate Search Interviews Reviews News Podcasts Reports Home » Reviews Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) Submitted by: Quarck | 19.04.2008 no comment | 198 views Aaron Spectre , also known for the project Drumcorps , reveals before us completely new side of his work. In protovoves frenzy break­grindcore Specter produces a chic downtempo, idm album. Lost Tracks ­ the result of six years of work, but despite this, the rumor is very fresh and original. The sound is minimalistic without excesses, but at the same time the melodies are very beautiful, the bit powerful and clear, pronounced. Just want to highlight the composition of Break Ya Neck (Remix) , a bit mystical and mysterious, a feeling, like wandering somewhere in the http://www.arrhythmiasound.com/en/review/aaron-spectre-lost-tracks-ad-noiseam-2007.html 1/3 2/22/2018 Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews на Arrhythmia Sound dusk. There was a place and a vocal, in a track Degrees the gentle voice Kazumi (Pink Lilies) sounds. As a result, Lost Tracks can be safely put on a par with the works of such mastadonts as Lusine, Murcof, Hecq. Tags: downtempo, idm Subscribe Email TOP-2013 Submit TOP-2014 TOP-2015 Tags abstract acid ambient ambient-techno artcore best2012 best2013 best2014 best2015 best2016 best2017 breakcore breaks cyberpunk dark ambient downtempo dreampop drone drum&bass dub dubstep dubtechno electro electronic experimental female vocal future garage glitch hip hop idm indie indietronica industrial jazzy krautrock live modern classical noir oldschool post-rock shoegaze space techno tribal trip hop Latest The best in 2017 - albums, places 1-33 12/30/2017 The best in 2017 - albums, places 66-34 12/28/2017 The best in 2017.
    [Show full text]
  • Final Version
    This research has been supported as part of the Popular Music Heritage, Cultural Memory and Cultural Identity (POPID) project by the HERA Joint Research Program (www.heranet.info) which is co-funded by AHRC, AKA, DASTI, ETF, FNR, FWF, HAZU, IRCHSS, MHEST, NWO, RANNIS, RCN, VR and The European Community FP7 2007–2013, under ‘the Socio-economic Sciences and Humanities program’. ISBN: 978-90-76665-26-9 Publisher: ERMeCC, Erasmus Research Center for Media, Communication and Culture Printing: Ipskamp Drukkers Cover design: Martijn Koster © 2014 Arno van der Hoeven Popular Music Memories Places and Practices of Popular Music Heritage, Memory and Cultural Identity *** Popmuziekherinneringen Plaatsen en praktijken van popmuziekerfgoed, cultureel geheugen en identiteit Thesis to obtain the degree of Doctor from the Erasmus University Rotterdam by command of the rector magnificus Prof.dr. H.A.P Pols and in accordance with the decision of the Doctorate Board The public defense shall be held on Thursday 27 November 2014 at 15.30 hours by Arno Johan Christiaan van der Hoeven born in Ede Doctoral Committee: Promotor: Prof.dr. M.S.S.E. Janssen Other members: Prof.dr. J.F.T.M. van Dijck Prof.dr. S.L. Reijnders Dr. H.J.C.J. Hitters Contents Acknowledgements 1 1. Introduction 3 2. Studying popular music memories 7 2.1 Popular music and identity 7 2.2 Popular music, cultural memory and cultural heritage 11 2.3 The places of popular music and heritage 18 2.4 Research questions, methodological considerations and structure of the dissertation 20 3. The popular music heritage of the Dutch pirates 27 3.1 Introduction 27 3.2 The emergence of pirate radio in the Netherlands 28 3.3 Theory: the narrative constitution of musicalized identities 29 3.4 Background to the study 30 3.5 The dominant narrative of the pirates: playing disregarded genres 31 3.6 Place and identity 35 3.7 The personal and cultural meanings of illegal radio 37 3.8 Memory practices: sharing stories 39 3.9 Conclusions and discussion 42 4.
    [Show full text]
  • Big Dog Days by Hannah Nussbaum
    It was the penultimate night of August and I was ready for anything, dressed in a gauzy PG-13 outfit, standing on the patio of a soft-boiled party filled with talking backs and healthy-looking pink mouths. Things were just starting to get boisterous and someone standing near me was vaporizing chartreuse liquor, and wisps of green gas were wafting around the patio like little souls on their way to the underworld. I sipped and shuffled, posed and pouted, eyes on a platter of finger food balanced on the bar. Eventually I was approached by a beautiful boy with big rubber shoes and a blue hood pulled tightly around his ears. He introduced himself and complimented my look and soon we were talking about the beach, which was all anybody talked about those days—the liminal state of affairs down there, the big weird question mark stamped on our city. The beach in our city had once been a normal, generic beach, you know the kind, with sand, surf and all the regular seaside fixings. Then one summer the entire coast had been purchased by either an asset management company or a real estate investment trust—it wasn’t clear which—and what happened next was a series of ownership changes, financing issues, construction delays, legal challenges and chronically delayed re-opening dates. The beach changed hands several times and some scaffolding was erected around it while the project plans were being ironed out. We were told that the 587 acres of coastal wetlands were supposed to be renovated into 2.1 million square feet of beachfront space and 1 million square feet of to-be-determined on a 206-acre tract, with the remainder to be converted into stormwater retention basins.
    [Show full text]
  • 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).
    [Show full text]