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Explore the Neo Naturists
The Neo Naturists 8 July – 28 August 2016 The Neo Naturists are a performance art group founded in 1981 by Christine Introduction Binnie, Jennifer Binnie and Wilma Johnson. The group emerged from a subculture – connected with but not limited to the New Romantic club scene – which developed in London against a backdrop of intense eco- nomic, political and social change. In the aftermath of punk, and at the advent of the rise of Thatcherism, a vigorous creative energy developed in the UK which sat outside of mainstream culture, creating its own network of agents, economies, activities and events. The Neo Naturists were a part of a wide constellation of diverse cultural figures and sometime collaborators, which included BodyMap (David Holah & Stevie Stewart), James Birch, Leigh Bowery, Jill Bruce, Michael Clark, David Dawson, Peter Doig, Simon Foxton, Boy George, Derek Jarman, Princess Julia, Bruce Lacey, Andrew Logan, Marilyn, John Maybury, Maia Norman, Grayson Perry, Psychic TV, Philip Sallon, Test Department, Jill Westwood, Dencil Williams and Cerith Wyn Evans. We used to go to nightclubs and do performances wearing body paint. Sometimes the performance would be the act of painting each other, sometimes we’d have the paint on already. All the people around us were Blitz Kids doing all that post-punk stuff when it was very trendy to be thin, po-faced and have perfect make-up. We could never really manage that. We were always red and shiny and smiling, and a bit too fat. So we did the opposite and painted ourselves, got i Christine Binnie interviewed by messy and had fun.i Suzanne Cotter, 8 June 2009, Michael Clark, Violette Editions, 2011 The group was established organically. -
Mixed Messages: Resistance and Reappropriation in Rave Culture
Western Journal of Communication, 67(3) (Summer 2003), 249-270 Mixed Messages: Resistance and Reappropriation in Rave Culture Brian L. Ott Department of Speech Communication, 204 Eddy Building, Colorado State University, Fort Collins, CO 80523-1783. Office: (970) 491-7164. Email: Brian.Ott®Colostate.edu Bill D. Hennan Department of Speech Communication, 232 Eddy Building, Colorado State University, Fort Collins, CO 80523-1783. Office: (970) 491-3852. Email: [email protected] This cssay concerns the dynamic tcnsion betwecn resistance and rcappropriation in the youth subcultural practice of raving. We argue that the transgressive potcntial of underground rave culture lies primarily in its privileging of communion, which is facilitated along the intersecting axes of social space, authorship, the body, and the drug Ecstasy. The commodification of rave culture is demonstrated to be linked to a shifting consciousness reflected in changing attitudes toward Ecstasy, the relocation of dance culture into clubs, and the redefinition of the DJ as artist and superstar. A concluding section considers the implications of resistance and reappropriation in rave culture for social change and the exercisc of power. Back in the days before America was online, computer gceks who liked techno music began hosting secret rave parties in San Francisco. Revelers followed treasure hunts, whispering passwords to strangcrs on strect corners until a rave emerged in somebody else's warehouse or field. The drug ecstasy was passcd around like Tic Tacs, and the music played until the cops showed up. Now, a gcneration later, underground raves have gone pop. Last weekend at 3Com Park, nearly 29,000 peaceful ravers queued up in broad daylight, $40 tickets in hand, for the largest, cleanest rave San Francisco has ever seen. -
THE CULTURAL VALUE of LIVE MUSIC from the PUB to the STADIUM: GETTING BEYOND the NUMBERS by Dr Adam Behr, Dr Matt Brennan & Professor Martin Cloonan
THE CULTURAL VALUE OF LIVE MUSIC FROM THE PUB TO THE STADIUM: GETTING BEYOND THE NUMBERS By Dr Adam Behr, Dr Matt Brennan & Professor Martin Cloonan Research by The University of Edinburgh and The University of Glasgow Part of the Arts & Humanities Research Council’s Cultural Value Project The Cultural Value of Live Music from the Pub to the Stadium Acknowledgements Key Findings The authors are grateful to the Arts • The weakest point of the live music ecology at present is and Humanities Research Council’s the small to medium independent venues. Cultural Value project team for providing the funding which made • Policymakers need to pay more heed to the economic this research possible. We would and cultural contribution of smaller venues. Local regimes also like to thank UK Music, the often focus their attention on major developments whose Musicians’ Union and PRS for Music for their assistance and co-operation key beneficiaries are larger businesses. in carrying out the work. • Greater harmonisation of regulatory regimes and their We extend thanks to all the members implementation across the UK will benefit independent of the advisory board for their ideas and assistance and, particularly, all of the and major operators alike. people who took time out from their busy • The need for a more ‘joined up’ approach across council schedules to be interviewed. The qualitative nature of this research means that we services is widely acknowledged but not always fully needed the perspectives of a multitude of implemented. different stakeholders in British live music and their willingness to speak to us was • Competition between cities drives investment in invaluable to this project. -
Rave Parties
U.S. Department of Justice Office of Community Oriented Policing Services Problem-Oriented Guides for Police Problem-Specific Guides Series No. 14 Rave Parties by Michael S. Scott www.cops.usdoj.gov Center for Problem-Oriented Policing Got a Problem? We’ve got answers! Log onto the Center for Problem-Oriented Policing website at www.popcenter.org for a wealth of information to help you deal more effectively with crime and disorder in your www.PopCenter.org community, including: • Web-enhanced versions of all currently available Guides • Interactive training exercises • On-line access to research and police practices Designed for police and those who work with them to address community problems, www.popcenter.org is a great resource in problem-oriented policing. Supported by the Office of Community Oriented Policing Services, U.S. Department of Justice. Problem-Oriented Guides for Police Problem-Specific Guides Series Guide No. 14 Rave Parties Michael S. Scott This project was supported by cooperative agreement #99 CK-WX-K004 by the Office of Community Oriented Policing Services, U.S. Department of Justice. The opinions contained herein are those of the author(s) and do not necessarily represent the official position of the U.S. Department of Justice. www.cops.usdoj.gov ISBN: 1-932582-13-4 August 2004 About the Problem-Specific Guides Series i About the Problem-Specific Guides Series The Problem-Specific Guides summarize knowledge about how police can reduce the harm caused by specific crime and disorder problems. They are guides to prevention and to improving the overall response to incidents, not to investigating offenses or handling specific incidents. -
COMMUNITY-POLICE CONSULTATIVE GROUP For
COMMUNITY-POLICE Martin Bridger, Supt. Stewart Information from the CPCG CONSULTATIVE GROUP Low (Brixton), Supt. Alistair Board and Members for LAMBETH Sutherland (Kennington); Supt. Jonathan Tottman (Streatham), 6. Pauline Bower announced that MINUTES OF THE MEETING Supt. Paul Wilson (Community she had resigned as the official Partnership), Sgt. Ronnie Whelan representative of Churches 2 May 2006 SECRETARIAT Ben McKendrick Together in Clapham. A replacement had yet to be West Indian Ex-Servicemen’s & Apologies: David Corderoy, decided. She said that she Ex-Servicewomen’s Assoc. Insp. Graham Croucher, Gary would be concentrating her time Dando, Sheila Draper, Maude and energy on a project PRESENT: CPCG BOARD Paul Estwick, Rowena Estwick, Bushy concerning the 2007 bi-centenary Andell, Greta Brooks (Churches Kelly, Sally Rance, Paul celebrations of the Abolition of Together in Brixton), Canon Reynolds, Cllr. Darren Sanders, the Slave Trade Act. Ivelaw Bowman, Lee Jasper, Jim Cheryl Sealey, Hazel Watson Toohill (Victim Support), Anna 7. However, Ms Bower said that Tapsell (Ind. Membs), Wesley she had loved being part of the Stephenson (Your Story). Abdul Introduction Group although sad to be leaving Sultan Virani (Lambeth with some unresolved questions Pensioners’ Forum) 1. The Group held a minute’s related to the Group’s COMMUNITY AND silence in memory of Alfie governance. She said that the VOLUNTARY MEMBERSHIP Howard, Lambeth Town Crier, expertise of former members Nick Abengowe (Herne Hill who had passed away on 28 Paul Twyman and Paul Reid had Forum); Robert Holden (Friends April. Lee Jasper said that Alfie been lost to the Group as a result of Brockwell Park); Pauline had been an institution whose of having been treated guilty, Bower (Churches Together in presence at many events despite unsubstantiated Clapham); Rod Brown (Lambeth throughout the borough brought allegations and no evidence of Leaseholders Forum); Wally smiles to many faces. -
Family Feud 5Th Edition
PLAYING FOR 3 OR MORE PLAYERS: Throughout the game, players will try to match their answers with the most popular survey answers. Each game consists of three parts: The Face-Off, The Feud and The Fast Money Bonus Round. THE SCOREBOARD: The scoreboard is used to keep track of the game as follows: 1. The Face-Off and The Feud rounds, the answers and points are placed in the scoreboard section, with the number one answer and it’s points placed at one, the number two answer and it’s points placed at two, etc. 2. At the end of each survey question, the points are totaled and placed under that team’s number in The Feud section of the 5th Edition scoreboard. INSTRUCTIONS 3. In The Fast Money Bonus Round, one side of the scoreboard is used by one player for his answers and the AND ROUNDS 1-45 opposite side for his teammate. In a two player game, one player uses both sides. OBJECT: After all five questions, the points are then added and To have the most points at the end of three games by placed in the Total section. matching the most popular survey answers. THE FACE-OFF: CONTENTS: Each Feud round begins with a Face-Off as a player from 1 Scoreboard, 1 Answer Board, 1 Wipe-off Marker, 1 each team tries to take control of the question by giving the Survey Question/ Instruction Book, 1 Strike Indicator with 3 most popular answer. “X” Strikes Each team chooses a player for The Face-Off. -
Analysis of Rave Culture
HeHe OUT OF SIGHT, OUT OF MIND: An Analysis of Rave culture. Copyright Helen Evans, Wimbledon School of Art, London, 1992 Introduction The Rave Experience A brief History of Rave The Sources of Rave Music Music as Prophecy Sexuality and the Self Collage and Authorship Conclusion Bibliography Introduction This dissertation is an analysis of the phenomenon of 'rave culture'. Implicit within my writing is the notion that rave is a part of popular culture rather than a subculture. I think it would be useful at this point to provide a definition of subculture: Subcultures define themselves as other' and 'subordinate' to 'the dominant' culture. The early work of Stuart Hall and Dick Hebdige has been chiefly concerned with the ways in which subcultures subvert and pose a resistance to the 'established order' through their expressive dress codes and rituals. Rave departs from these theories of youth culture, since it has not established an identifiable dress code nor consciously set itself apart from the wider culture. Cultural critics have found it difficult to argue that rave poses any resistance to anything at all. This essay is really an exploration into what rave does do, if its objective is not to subvert. What is rave an expression of? What is its function? What is its position politically? These are the questions that I am fundamentally concerned with. I came to rave culture as an outsider looking in, and from a rather peculiar position of a young person commenting on the activity of my peers. I have found it a rich subject to explore, enabling me to discuss some of my own creative, personal and political interests which relate very closely to my studio practice: the use of collage, the notion of subversion, and the expression of gendered identity. -
Electronic Dance Music and Culture in the Pacific Northwest
Linfield University DigitalCommons@Linfield Senior Theses Student Scholarship & Creative Works Spring 2011 Electronic Dance Music and Culture in the Pacific Northwest Megan Myer Linfield College Follow this and additional works at: https://digitalcommons.linfield.edu/muscstud_theses Part of the Music Commons Recommended Citation Myer, Megan, "Electronic Dance Music and Culture in the Pacific Northwest" (2011). Senior Theses. 3. https://digitalcommons.linfield.edu/muscstud_theses/3 This Thesis (Open Access) is protected by copyright and/or related rights. It is brought to you for free via open access, courtesy of DigitalCommons@Linfield, with permission from the rights-holder(s). Your use of this Thesis (Open Access) must comply with the Terms of Use for material posted in DigitalCommons@Linfield, or with other stated terms (such as a Creative Commons license) indicated in the record and/or on the work itself. For more information, or if you have questions about permitted uses, please contact [email protected]. Electronic Dance Music and Culture in the Pacific Northwest By: Megan Myer M y e r | 2 Table of Contents Introduction … … … … … … … … … P. 3 Chapter 1: History of Electronic Music … … … … … … P. 4 Chapter 2: History of Electronic Dance Music … … … … P. 9 Chapter 3: Musical Genres … … … … … … … P. 12 Chapter 4: Culture … … … … … … … … P. 16 Definition of Key Terms … … … … … … … P. 22 Bibliography … … … … … … … … … P. 23 M y e r | 3 Megan Myer Dr. Joan Paddock/Liz Obert MUSC 490/EART 485 Spring 2011 Electronic Dance Music and Culture in the Pacific Northwest A Brief Introduction: "A digital multimedia exploration of Electronic Dance Music (EDM) history and theory; the Pacific Northwest rave experience of the 21st century." In today‟s world of music, everything is constantly changing alongside the progression of technology. -
Booklet Is a Series of Objects That Form Part of the Museum of London’S Vast and Truly Welcome to the Night Museum Fantastic Collection
Welcome to The Night Museum Jes Fernie and Lauren Parker 2 Lost Joanna Walsh 4 Objects from the Museum of London Darkness Matthew Beaumont 12 Objects from the Museum of London A Natural History of the Theatre Frances Morgan 24 Objects from the Museum of London The Night Museum Programme The Museum of Lost Sounds 34 The Museum of Dark Places 37 The Museum of Last Parties 43 To the morally benighted and mentally unhinged: Interspersed throughout the booklet is a series of objects that form part of the Museum of London’s vast and truly Welcome to The Night Museum fantastic collection. They are presented here in a playful way, making oblique and curious connections to the night, across time, subject matter and media. The Museum of London invites you to celebrate the dark, Nicky Deeley’s mythical creatures gleefully stalk these the illicit, and the lost. Here you can immerse yourself in pages, echoing her performance in The Museum of Dark an eclectic and magical series of events involving mythical Places in which two species engage in a nocturnal rite of creatures, sonic installations, whispering objects, ghost exchange and ingestion in the parks and gardens around clubs, drinking dens, experimental performances, thought the Museum of London. experiments and tours of the night. The guidebook concludes with an homage to London’s Musicians, artists and writers will inhabit secret and ghost clubs and lost night haunts, resurrected for one night evocative spaces in and around the museum, including the only in The Museum of Last Parties. Barber Surgeons’ Garden, Postman’s Park, and Roman City We wish you strange and unexpected encounters and, Wall. -
Duke University Dissertation Template
Music and the Modes of Production: Three Moments in American Jazz by Karim Wissa Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Fredric Jameson, Supervisor ___________________________ Thomas Brothers ___________________________ Wahneema Lubiano ___________________________ Nathaniel Mackey ___________________________ Negar Mottahedeh Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, in the Graduate Program in Literature in the Graduate School of Duke University 2018 ABSTRACT Music and the Modes of Production: Three Moments in American Jazz by Karim Wissa Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Fredric Jameson, Supervisor ___________________________ Thomas Brothers ___________________________ Wahneema Lubiano ___________________________ Nathaniel Mackey ___________________________ Negar Mottahedeh Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, in the Graduate Program in Literature in the Graduate School of Duke University 2018 Copyright by Karim Wissa 2018 Abstract What ideological dreams does music express? And how does it do so? In listening to three paradigmatic moments in American Jazz, this dissertation attempts to answer these two problems by illustrating how the modes of our production structure the range of our interpretive possibilities, and how music responds to and overcomes -
Trade Nightclub Clerkenwell
- often copied, never equalled Celebrating 25 years of after-hours clubbing in Islington An idea was born in October 1990 that changed the face of clubbing forever … The 1980s gay-club scene was already thriving, playing disco, alternative electronic and early house music in venues such as Heaven, the gay superclub in London’s Charing Cross. Then the arrival of dance music and a new drug, ecstasy, in the late 1980s changed the face of clubbing forever. Trade, London’s first legal after-hours dance club, was to take it to yet another level. Advertised as ‘the original all-night bender’, Trade was launched by Laurence Malice on 29 October 1990 at Turnmills, 63b Clerkenwell Road, Islington. It had the unusual opening time of 3am (until 1pm) on Sunday mornings. This set it apart from other clubs and it soon became ‘the’ place to be. Its exclusivity further fuelled the desire to be a part of what Trade had to offer. Trade changed club culture through the people that it brought together. While the club night was perceived to cater for the LGBT community, as long as an individual had the right attitude they were welcome at Trade, regardless of their sexuality, social background or gender. The freedom to express through art, music and fashion saw this unique after-hours experience become a haven for creativity. The music at Trade was also innovative. It was first to offer club goers the concept of a journey through sound. Hard-edged Techno music intensified the whole experience and Turnmills proved the perfect venue. -
THE CULTURAL VALUE of LIVE MUSIC from the PUB to the STADIUM: GETTING BEYOND the NUMBERS by Dr Adam Behr, Dr Matt Brennan & Professor Martin Cloonan
THE CULTURAL VALUE OF LIVE MUSIC FROM THE PUB TO THE STADIUM: GETTING BEYOND THE NUMBERS By Dr Adam Behr, Dr Matt Brennan & Professor Martin Cloonan Research by The University of Edinburgh and The University of Glasgow Part of the Arts & Humanities Research Council’s Cultural Value Project The Cultural Value of Live Music from the Pub to the Stadium Acknowledgements Key Findings The authors are grateful to the Arts • The weakest point of the live music ecology at present is and Humanities Research Council’s the small to medium independent venues. Cultural Value project team for providing the funding which made • Policymakers need to pay more heed to the economic this research possible. We would and cultural contribution of smaller venues. Local regimes also like to thank UK Music, the often focus their attention on major developments whose Musicians’ Union and PRS for Music for their assistance and co-operation key beneficiaries are larger businesses. in carrying out the work. • Greater harmonisation of regulatory regimes and their We extend thanks to all the members implementation across the UK will benefit independent of the advisory board for their ideas and assistance and, particularly, all of the and major operators alike. people who took time out from their busy • The need for a more ‘joined up’ approach across council schedules to be interviewed. The qualitative nature of this research means that we services is widely acknowledged but not always fully needed the perspectives of a multitude of implemented. different stakeholders in British live music and their willingness to speak to us was • Competition between cities drives investment in invaluable to this project.