Alt-Nation: 12 Step Recovery Process for Coping with the Demise of Summer
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FRI. AUGUST 2 6:00 P.M., Free Unnameable Books 600 Vanderbilt
MUSIC Bird To Prey, Major Matt Mason USA POETRY Becca Klaver, BOOG CITY Megan McShea, Mike Topp A COMMUNITY NEWSPAPER FROM A GROUP OF ARTISTS AND WRITERS BASED IN AND AROUND NEW YORK CITY’S EAST VILLAGE ISSUE 82 FREE Jonathan Allen art Creative Writing from Columbia University and her M.F.A. in band that will be debuting its first material this fall. But until instructor and consultant. Her poetry has appeared or FRI. AUGUST 2 poetry from NYU. Her work has been featured or is forthcoming then he finds himself in a nostalgic summer detour, in New York is forthcoming in 1913; No, Dear magazine; Two Serious 6:00 P.M., Free in numerous publications, including Forklift, once again, home once again. Christina Coobatis photo. Ladies; Wag’s Revue; and elsewhere. Her chapbook, Russian Ohio; Painted Bride Quarterly; PANK; Vinyl • for Lovers, was published by Argos Books. She lives in Unnameable Books Poetry; and the anthology Why I Am Not His Creepster Freakster is one of those albums that Sheepshead Bay, Brooklyn and works as an adjunct A Painter, published by Argos Books. She just absorbs you and spits you out. But his later work with instructor. Luke Bumgarner photo. 600 Vanderbilt Ave. was a finalist this year for The Poetry Supernatural Christians and Injecting Strangers is taking it (bet. Prospect Place/St. Marks Avenue) Project’s Emerge-Surface-Be Fellowship. A all further. He is the nicest, sweetest, politest, most merciless Sarah Jeanne Peters 7:55 p.m. Prospect Heights, Cave Canem fellow, Parker lives with her dog Braeburn in artist you will ever come across. -
![Dec1 Untitled REF GUIDE FINAL[2]](https://docslib.b-cdn.net/cover/1089/dec1-untitled-ref-guide-final-2-341089.webp)
Dec1 Untitled REF GUIDE FINAL[2]
UNTITLED RESOURCE GUIDE SUGGESTIONS FOR ENGAGEMENT ABOUT UNTITLED Beginning with a reflection on the early AIDS epidemic, Untitled eschews a linear narrative to introduce a fractious timeline, moving from the sublime to the tragic and back again. By juxtaposing mainstream network news, activist footage, artists' work, and popular entertainment from the last turbulent decades, Untitled references regimes of power that precipitated a generation of AIDS and queer activism and continues today with international struggle and expression. In 2010, artist Jim Hodges was invited to give a lecture on the billboard project of Félix González-Torres at San Antonioʼs Artpace. He teamed up with fellow filmmakers Carlos Marques da Cruz and Encke King to create Untitled. Neither a portrait or a documentary about González- Torres, the film was an attempt to place the viewer “in his room,” that is to say, the filmmakers worked to create, for the viewer, an understanding of the influences and contexts within which González- UNTITLED Torres was working. In Hodges's words, “In this way, the framing of the artist can become a way to project any number of people, endlessly.” A Film by Untitled can therefore be considered to be as much about González- Jim Hodges, Carlos Marques da Cruz, and Encke King Torres and the AIDS crisis as it can be seen as grappling with the continuum of global dehumanization. PURPOSE OF THIS RESOURCE GUIDE In an effort to honor the sense of endlessness that Untitled suggests, this guide is a resource for provoking both public and private conversation. We have provided you with: • WORDS for engagement regarding HIV/AIDS, art, and culture • THOUGHTS to provoke dialogue • HIV/AIDS TIMELINE • INFORMATION about prevention and wellness • LINKS to extend the conversation CREDITS • Like the film, this Resource Guide hopes to raise more questions than it answers. -
Musician and Composer Owen Pallett on Being Thoughtful About Each Decision You Make
To help you grow your creative practice, our website is available as an email. Subscribe The Creative Independent is a vast resource of emotional and practical guidance. We publish Guides, Focuses, Tips, Interviews, and more to help you thrive as a creative person. Explore our website to find wisdom that speaks to you and your practice… September 3, 2020 - As told to Max Mertens, 2681 words. Tags: Music, Film, Inspiration, Process, Identity, Production, Multi-tasking. On being thoughtful about each decision you make Musician and composer Owen Pallett on maintaining a punk ethos in the world of chamber music, their fool-proof lyric writing method, revisiting old work, and negative inspiration. This is your first solo album in six years, but you’ve been busy in that time with different scores and arranging for other musicians. Did these projects take any creative or financial pressure off you when it came to making this record? Sometimes they do and sometimes they don’t really. Film scores are always kind of a bit of a crapshoot. If you score a film and it becomes a bit of a hit, then you do get residuals off it, so it is a good investment if you pick the right films. I notoriously have a bit of a bad nose for a good script. Back in 2008 or 2007, Gus Van Sant was asking me to possibly score Milk prior to studio involvement, and I remember reading the script and thinking it was bullshit. It won an Oscar for Best Original Screenplay, and I was like “Oh wow, I don’t really have a good nose for that kind of stuff.” Most of the production work and arrangement work that I do is a little more labor of love. -
Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
Contributors
CONTRIBUTORS Lisa Badner has published poems in TriQuarterly, Mudlark, Fourteen Hills and forthcoming in The Cape Rock. She studies with Phillip Schultz in the NYC Master Class of The Writers Studio. She cycles everywhere and lives in Brooklyn with her kid and partner. Martine Bellen’s most recent books are Ghosts! and 2X(squared). The Wabac Machine (Furniture Press Books) is forthcoming in 2013. Lucy Biederman is doctoral student in English Literature at the University of Louisiana in Lafayette. She is the author of a chapbook, The Other World (Danc- ing Girl Press). Her poems have recently appeared or are forthcoming in ILK, Shampoo, Gargoyle, and Many Mountains Moving. Richard Brautigan (1935-1984) was an American writer popular during the late 1960s and early 1970s and is often noted for using humor and emotion to pro- pel a unique vision of hope and imagination throughout his body of work which includes ten books of poetry, eleven novels, one collection of short stories, and miscellaneous non-fiction pieces. His easy-to-read yet idiosyncratic prose style is seen as the best characterization of the cultural electricity prevalent in San Fran- cisco, Brautigan’s home, during the ebbing of the Beat Generation and the emer- gence of the counterculture movement. Brautigan’s best-known works include his novel, Trout Fishing in America (1967), his collection of poetry, The Pill versus The Springhill Mine Disaster (1968), and his collection of stories, Revenge of the Lawn (1971). Stephen Campiglio’s poems have recently appeared in Marco Polo Arts Maga- zine, Off the Coast, New England Jazz History Database, and the anthology, New Hungers for Old: One-Hundred Years of Italian American Poetry. -
The Dictators Reviews
The Great Dictators | Arts | The Harvard Crimson 5/11/12 8:40 PM NEWS OPINION MAGAZINE SPORTS ARTS MEDIA FLYBY ABOUT US ADVERTISING TWITTER FACEBOOK RSS MOBILE SUBSCRIBE CLASSIFIEDS CAMBRIDGE, MA WEATHER: 44F The Great Dictators MOST READ By PETEY E. MENZ, CRIMSON STAFF WRITER 1. The Fallacy of Tuna Fish Economics Published: Thursday, April 05, 2012 2. The Delphic Renamed "The Dolphin" 3. Letter: What PBK Really Means 2 retweet 2 retweet 1 COMMENT EMAIL PRINT 4. Shielding the Vomlet 2 retweet 5. Alexander J. P. Kunkel '12 Finding High Fidelity My punk-rock years were unexpected. I grew up an hour away from Manhattan and decades away from the mid-seventies, and there was a time when these circumstances seemed the greatest tragedy of my life. That was when I spent all of my money on records and CDs, when I spent days listening to Patti Smith and Richard Hell, when there was a thrilling sense of danger in the band names “Dead Boys” and “Sex Pistols.” Punk was about disaffection, but I loved it with unfettered and unironic enthusiasm. Every band had something distinctive to listen to, and every band was amazing for it. It was during this manic stage of exploration that I discovered the Dictators, a short-lived group of Noo Yawk punks who cheerfully endorsed hamburgers, cheesy pop hits, and the suburban lifestyle. Fourteen years after they broke up, I was born, and fourteen years after that I discovered and soon fell in love with their debut album, “Go Girl Crazy.” I had purchased the record on vinyl during my freshman year, which meant I could only listen to it in my family’s living room, where my mother’s record player was permanently installed. -
FILTER 46: Bone Poem: a Short Story by Cass Mccombs and Albert Herter Illustrations by Albert Herter Carmine Itched His Temple I
FILTER 46: Bone Poem: A Short Story By Cass McCombs and Albert Herter By Cass McCombs and Albert Herter on December 5, 2011 Illustrations by Albert Herter Carmine itched his temple in the direction of the anxiety-producing event, a man in spandex stretching his crotch in a beam of sunlight. A dog howled, the honk of a horn. He who tamed the insects. Carmine was waiting for the main capital woman, who said she’d be wearing pearl glasses on a chain. He crossed his legs to produce a pain in his hip, which usually grounded him for 10 minutes. The trees were a mixture of margarita, neon lime and paradise green. Bullies on bicycles, dolls pushing strollers of dolls pushing strollers of...suddenly, the puncture of high heels. Scenery bushes rattling fever again. She was his scenery, no, programmer. Feeding him new formulas, after the expiration date, sucked dry. Algorithms get juiced, around the block, worn out, like book hookers. She sat on the bench next to him, an envelope tickling his eye. She made her fingers dance up his arm like a spider, which, upon reaching his shoulder, slowly rested one black-tipped foot on his antitragus. He unfolded his legs. She lowered her glasses to reveal two cold black caves emanating vapors. Ten minutes later, Carmine and the main capital woman were driving downtown in his pickup truck to score. She was a friend of a friend, Carmine assumed she’d take a cut in one way or another, a cut from a source Carmine assumed was already cut with lactose or spillover from a fictional price tag, or both. -
American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world. -
Sleeping Volcanoes” Video
February 20, 2019 For Immediate Release Cass McCombs Presents “Sleeping Volcanoes” Video Tip of the Sphere Tour Kicks Off March 4th Cass McCombs’ ninth full-length album, Tip of the Sphere, was released just over a week ago to a range of praise. Following the recently released “Absentee” video, McCombs returns to the album’s first single and the thematic centerpiece of the album, “Sleeping Volcanoes,” with a video where dancers destroy Tahiti Pehrson’s contemporary art piece, “The Rising Body.” It was shot in San Francisco Financial and Tenderloins districts and in the forests of Marin County. As previously described by McCombs, “Sleeping Volcanoes” is about “people passing each other on the sidewalk unaware of the emotional volatility they are brushing past, like a sleeping volcano that could erupt at any moment.” McCombs and band will embark on their international tour on March 4th (all dates are below). Watch “Sleeping Volcanoes” Video Credits: Artwork and set by Tahiti Pehrson Created by: Cass McCombs, Jaclyn Katz, Noe Chavez, Micah Vassau Edited by Matt Sklar Dancers: Andrea Cortes-Juarbe, Rana Halprin, Ryan Reid, Paolo Speirn, Esme Pehrson Assistant Camera: Kaitlyn Pearce Stream/Purchase Tip of the Sphere Praise for Tip of the Sphere: “Tip of the Sphere again rejects easy definitions and expectations, growing and surprising with every listen.” - Pitchfork “‘Tip of the Sphere’ finds McCombs is enigmatic as ever, but his enthralling talent makes it a treat to snuggle in beneath his songs.” -- Associated Press “[Tip of the Sphere] represents familiar footing within the catalogue of one of indie rock’s most enigmatic artists working — the furthest thing from an insult, considering the impressive consistency of his discography.” - Vulture “His most immersing and casually skillful collection of songs to date.” -- Vanity Fair “[On Tip of the Sphere] McCombs reaches fully toward the idea of songwriting as myth-making . -
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 Golden Age of Heavy Metal (These are excerpts from my book "A History of Rock and Dance Music") The pioneers 1976-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Heavy-metal in the 1970s was Blue Oyster Cult, Aerosmith, Kiss, AC/DC, Journey, Boston, Rush, and it was the most theatrical and brutal of rock genres. It was not easy to reconcile this genre with the anti-heroic ethos of the punk era. It could have seemed almost impossible to revive that genre, that was slowly dying, in an era that valued the exact opposite of machoism, and that was producing a louder and noisier genre, hardcore. Instead, heavy metal began its renaissance in the same years of the new wave, capitalizing on the same phenomenon of independent labels. Credit goes largely to a British contingent of bands, that realized how they could launch a "new wave of British heavy metal" during the new wave of rock music. Motorhead (1), formed by ex-Hawkwind bassist Ian "Lemmy" Kilminster, were the natural bridge between heavy metal, Stooges/MC5 and punk-rock. They played demonic, relentless rock'n'roll at supersonic speed: Iron Horse (1977), Metropolis (1979), Bomber (1979), Jailbait (1980), Iron Fist (1982), etc. -
Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis. -
Jews, Punk and the Holocaust: from the Velvet Underground to the Ramones – the Jewish-American Story
Popular Music (2005) Volume 24/1. Copyright © 2005 Cambridge University Press, pp. 79–105 DOI:10.1017/S0261143004000315 Printed in the United Kingdom Jews, punk and the Holocaust: from the Velvet Underground to the Ramones – the Jewish-American story JON STRATTON Abstract Punk is usually thought of as a radical reaction to local circumstances. This article argues that, while this may be the case, punk’s celebration of nihilism should also be understood as an expression of the acknowledgement of the cultural trauma that was, in the late 1970s, becoming known as the Holocaust. This article identifies the disproportionate number of Jews who helped in the development of the American punk phenomenon through the late 1960s and 1970s. However, the effects of the impact of the cultural trauma of the Holocaust were not confined to Jews. The shock that apparently civilised Europeans could engage in genocidal acts against groups of people wholly or partially thought of by most Europeans as European undermined the certainties of post-Enlightenment modernity and contributed fundamentally to the sense of unsettlement of morals and ethics which characterises the experience of postmodernity. Punk marks a critical cultural moment in that transformation. In this article the focus is on punk in the United States. We’re the members of the Master Race We don’t judge you by your face First we check to see what you eat Then we bend down and smell your feet (Adny Shernoff, ‘Master Race Rock’, from The Dictators’ The Dictators Go Girl Crazy! [1975]) It is conventional to distinguish between punk in the United States and punk in England; to suggest, perhaps, that American punk was more nihilistic and English punk more anarchistic.