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Modern Urban Siege John P
Small Wars Journal www.smallwarsjournal.com Postcard from Mumbai: Modern Urban Siege John P. Sullivan and Adam Elkus According to many television news reports, the Mumbai terrorist attacks were a “siege.” But there were no catapults, cannons, or breaching ladders. Instead, a dozen men with guns paralyzed one of the world’s largest cities, killing 173 with barely concealed glee. Sadly, Mumbai heralds a new chapter in the bloody story of war in cities—the siege of the city from within. The polis is fast becoming a war zone where criminals, terrorists, and heavily armed paramilitary forces battle—and all can be targeted. 1 All the while, gardens of steel spring up, constricting popular movement and giving way to an evolving architecture of fear. The “feral city” and the military colony battle each other for dominance in the urban siege. Defending against the urban siege requires bridging the gap between police and military, building a layered defense, and fighting to preserve the right to the city. Despite the terrifying nature of the threat, the ultimate advantage lies with the vibrant modern city and the police, soldiers, and civilians tasked to defend it. The key to success lies in the construction of resilient physical and moral infrastructure. Cities, Sieges, and the Engine of War City sieges are as old as cities themselves. Fortifications took the place of soldiers in the field, as walls required no food or supplies to maintain, offered more defensive power, and allowed light infantry the opportunity to savage attackers with projectiles. 2 Military theorists from Sun Tzu onwards counseled armies to avoid fights in cities—those who disregarded their advice often suffered bloody defeat, their soldiers riddled with arrows on the parapets or shot down in narrow streets. -
The Stone Roses: War and Peace Online
FmXRz (Read free) The Stone Roses: War and Peace Online [FmXRz.ebook] The Stone Roses: War and Peace Pdf Free Simon Spence *Download PDF | ePub | DOC | audiobook | ebooks Download Now Free Download Here Download eBook #1235075 in Books Simon Spence 2013-04-02 2013-04-02Original language:EnglishPDF # 1 228.60 x .85 x 6.00l, .97 #File Name: 125003082X352 pagesThe Stone Roses War and Peace | File size: 79.Mb Simon Spence : The Stone Roses: War and Peace before purchasing it in order to gage whether or not it would be worth my time, and all praised The Stone Roses: War and Peace: 3 of 3 people found the following review helpful. The great story of a great band.By Andy TalbotIf you agree with the latter part of this review title you'll love this. I consider myself a fan but learnt a great deal from the story, which rollercoasters like any good tale. After reading on the Kindle I'm even keen to buy the hard copy for the photos! A fantastic account.1 of 1 people found the following review helpful. Five StarsBy Shelbyendless happiness was experienced throughout reading this book4 of 5 people found the following review helpful. Adequate -- but mistake- laden, unbalanced, and strangely coldBy TatsuyaWhen I read the fantastic Intro to this book, I thought Spence had at last done what Stone Roses fans wanted -- delivered a scholarly, well-researched and sources-cited, well-written, thorough account of the band's rise and fall. The introduction details the famous Spike Island concert on May 27th, 1990, and does a wonderful job of painting a portrait of it, far better than any descriptions we've yet seen.From there, however, the book declines. -
Anti-Blues Music, Dub and Racial Identity
Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk Article (Accepted Version) Haddon, Mimi (2017) Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk. Popular Music, 36 (2). pp. 283-301. ISSN 0261-1430 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/67704/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk 1 Mimi Haddon 29.01.2016 ‘Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk’ Abstract This article examines the complex racial and national politics that surrounded British post-punk musicians’ incorporation of and identification with dub-reggae in the late 1970s. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Berköz, Levent Donat (2012). A gendered musicological study of the work of four leading female singer-songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1235/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] A Gendered Musicological Study of the Work of Four Leading Female Singer-Songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos Levent Donat Berköz Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy City University London Centre for Music Studies June 2012 1 TABLE OF CONTENTS TABLE OF CONTENTS ………………………………………………………… 2 LIST OF FIGURES ……………………………………………………………… 5 ACKNOWLEDGEMENTS ……………………………………………………… 7 DECLARATION ………………………………………………………………… 9 ABSTRACT ……………………………………………………………………… 10 INTRODUCTION ……………………………………………………………….. 11 Aim of the thesis…………………………………………………………………. -
Black & Brown Women of the Punk Underground
Sarah Lawrence College DigitalCommons@SarahLawrence Women's History Theses Women’s History Graduate Program 11-2018 Game Changers & Scene Makers: Black & Brown Women of the Punk Underground Courtney Aucone Sarah Lawrence College Follow this and additional works at: https://digitalcommons.slc.edu/womenshistory_etd Part of the Women's History Commons Recommended Citation Aucone, Courtney, "Game Changers & Scene Makers: Black & Brown Women of the Punk Underground" (2018). Women's History Theses. 37. https://digitalcommons.slc.edu/womenshistory_etd/37 This Thesis - Open Access is brought to you for free and open access by the Women’s History Graduate Program at DigitalCommons@SarahLawrence. It has been accepted for inclusion in Women's History Theses by an authorized administrator of DigitalCommons@SarahLawrence. For more information, please contact [email protected]. Game Changers & Scene Makers: Black & Brown Women of the Punk Underground Courtney Aucone Thesis Seminar Dr. Mary Dillard December 6, 2018 Submitted in partial completion of the Master of Arts Degree at Sarah Lawrence College, December 2018 Table of Contents: Acknowledgements……………………………………………………………………………………….…......1 Introduction…………………………………………………………………………………………………….…..2 v A Note on Methodology…………………………………………………………………………………21 Chapter I: “A Wave of History”…………………………………………………………………………... 26 Chapter II: The Underground…………………………………………………………………………….. 51 Chapter III: “Somos Chulas, No Somos Pendejas”: Negotiating Femininity & Power in the Underground……………………………..…………………………………………………………………70 -
SWR2 Feature Am Sonntag This Is Not a Love Song Die Geschichte Von Nora Forster Und Ari up Von Lorenz Schröter
SWR2 MANUSKRIPT ESSAYS FEATURES KOMMENTARE VORTRÄGE SWR2 Feature am Sonntag This is not a love song Die Geschichte von Nora Forster und Ari Up Von Lorenz Schröter Sendung: Sonntag, 26. Juni 2016, 14.05 Uhr Regie: Lorenz Schröter Produktion: BR 2014 Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Service: SWR2 Feature am Sonntag können Sie auch als Live-Stream hören im SWR2 Webradio unter www.swr2.de oder als Podcast nachhören: http://www1.swr.de/podcast/xml/swr2/feature.xml Mitschnitte aller Sendungen der Redaktion SWR2 Feature am Sonntag sind auf CD erhältlich beim SWR Mitschnittdienst in Baden-Baden zum Preis von 12,50 Euro. Bestellungen über Telefon: 07221/929-26030 Bestellungen per E-Mail: [email protected] Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2-Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de Musik-Thema: This is not a love song/ Ari Up: „Ich habe bayerische Wurzeln und Kultur weißt du mag ich sehr gern.“ Musik hoch Isa Forster: „Ach die Tochter, die Ariane, so ein begabtes Mädchen hat damals schon der Udo Jürgens gesagt, nur leider die Mutter war immer ihr im Wege. Sie ist doch, wie heißt er noch, mit dem von den Sex pistols zusammen.“ 1. Poll: „Er war für mich auch eine Art Vaterfigur, in der Zeir und das war dann schon sehr prägend für mich, jemanden zu finden, der ganz anders auftrat, als unsere Elterngeneration schlechthin.“ SPRECHER Nicht alle Geschichten sind einfach zu erzählen. -
Bamcinématek Presents Punk Rock Girls, an 11-Film Survey of Cinema's
BAMcinématek presents Punk Rock Girls, an 11-film survey of cinema’s toughest she-rockers, May 7—Jun 1 Opens with a sneak preview of Lukas Moodysson’s We Are The Best! with Moodysson in person Director Slava Tsukerman in person for Liquid Sky The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Apr 18, 2014—From Wednesday, May 7 through Sunday, June 1, BAMcinématek presents Punk Rock Girls, an 11-film survey of cinema’s toughest she-rockers. To mark the release of Lukas Moodysson’s (Show Me Love, Lilya 4-Ever) punk rock valentine, We Are the Best!, BAMcinématek pays homage to the fearless, mohawk-sporting, safety pin-wearing, guitar- wielding women who stick it to The Man. Opening the series on Wednesday, May 7 is a sneak preview of We Are the Best!, in which three rebellious Stockholm tween girls start a punk band. Adapted from a graphic novel by the director’s wife, the film premiered at Toronto last year and simultaneously “captures the DIY empowerment of punk rock, the bond of female friendships, and parodies the era’s Oi!-scenester stances all in one blissful swoop” (David Fear, The Village Voice). Moodysson will appear in person for a Q&A following the screening. We Are the Best! is a Magnolia Pictures release and opens May 30. Diane Lane, Laura Dern, and Marin Kanter play another trio of teen punk girls in Lou Adler’s Ladies and Gentlemen, The Fabulous Stains (1982—May 31), which screenwriter Nancy Dowd (Coming Home, Slap Shot) was inspired to write after attending her first Ramones show. -
Gender-Aspekte in Opern Des 20. Und 21. Jahrhunderts
„Who are you?“ Gender-Aspekte in Opern des 20. und 21. Jahrhunderts Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität zu Bonn vorgelegt von Pei-Fang Frederika Tsai aus Taipeh (Taiwan) Bonn 2011 Gedruckt mit der Genehmigung der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität Bonn Zusammensetzung der Prüfungskommission: Prof. Dr. Sabine Sielke (Vorsitzende) Prof. Dr. Erik Fischer (Betreuer und Gutachter) Prof. Dr. Bettina Schlüter (Gutachterin) PD. Dr. Martina Grempler (weiteres prüfungsberechtigtes Mitglied) Tag der mündlichen Prüfung: 22.04.2010 Inhaltsverzeichnis 1. DIE OPER ALS GEGENSTAND DER GENDER STUDIES....................................................................... 1 2. FRAUENDARSTELLUNG OHNE LEIBLICHE FRAUEN IN DER OPER DES 20. JAHRHUNDERTS. ZWEI BEISPIELE................................................................................................................................................ 8 2.1 HISTORISCHER HINTERGRUND........................................................................................................... 9 2.2 DIE VERÄNDERUNG DER STIMMÄSTHETIK IM SPÄTEN 20. JAHRHUNDERT..................................... 11 2.2.1 Die Wiederentdeckung des Countertenors .................................................................................... 12 2.2.2 Das Spiel mit den Geschlechtern und der Geschlechtsidentität in der Popmusikszene................. 22 2.2.3 Die okzidentale Rezeption der asiatischen -
Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys, Paperback, 421 Pages, London: Faber & Faber, 2014
Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys, paperback, 421 pages, London: Faber & Faber, 2014. ISBN: 978-0571297757; £14.99. Reviewed by Simon W. Goulding (Freelance, UK) The Literary London Journal, Volume 11 Number 2 (Autumn 2014) It is a truism that history is written by the winners, and even in the punk period this tended to be the men. Jon Savage’s exhaustive account of the period England’s Dreaming (1991) is great on the ale figures, the theories and the art of manipulation, but less good on the women of the period; only Vivienne Westwood comes across as an engaging and engaged figure. All the more reason to admire to Viv Albertine’s new book, which is honest, informative and entertaining. As she says: ‘I’m too outspoken for most people, they think you’re rude if you tell the truth’ (407). Albertine was the eldest child of a single mother; she grew up in Muswell Hill, made it through the secondary schools of the time into the relative haven of Art School. She got a job at Dingwalls, a key music venue of the seventies. She met Mick Jones, shared a squat with Paul Simonon, made friends with Sid Vicious, failed with the first band and then joined The Slits. This then is an account by someone who was there at the beginning of punk: I’ve crossed the line from ‘sexy wild girl just fallen out of bed’ to unpredictable, dangerous, unstable, girl’. Not so appealing. Pippi Longstocking meets Barbarella meets juvenile delinquent. -
Commercial Alternative
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Birkbeck Institutional Research Online Commercial Alternative Joseph Brooker – Slow down / You’re taking me over… 1 – Another victory like that and we are done for.2 By the end of the 1980s, popular culture and media commentary brimmed with a self-conscious desire to name and describe the present. Few decades have had as clear an account of themselves as the 1980s, whatever the gaps and limits of that account. The 1990s became ever more sure of what had happened in the 1980s; but packing the 1990s themselves into a compelling summary proved more difficult. For the time being, those looking for stories of the last decade must make do with tracts like Stephen Bayley’s Labour Camp, a brief, bilious assault on the aesthetics and politics of Blair’s first term. For all his rancour, snobbery and carelessness, Bayley lands a few hits, and leaves a few hints. Bayley reads New Labour in terms not of social and economic policy, but of taste and image: Blair’s choice of car, the efforts at ‘rebranding Britain’, the design of the Dome. The cultural emblem of the Blair years, he proposes, is Elton John: He is a popular phenomenon, therefore it is irrelevant and elitist even to wonder if he is actually any good. He is emphatically middle-of-the-road. He is classless.... After a much-reported past of rock-star excess, he is clean, dried out…. Whoever would have thought you could relaunch old Labour? Whoever would have thought you could relaunch Elton John? The parallels between the two transformations are remarkable.3 The thought is suggestive, but leaves much unsaid about the new terrain inherited and shaped by the Blair government. -
Embodiment, Divinity, and Punk Rock Spirituality in the Music of the Slits
1 Alexandra Apolloni [email protected] Thinking Gender 2009 In the Beginning, there was rhythm: Embodiment, divinity, and punk rock spirituality in the music of The Slits At the opening of the Mystic Fable, Michel de Certeau introduces his readers to the figure of the madwoman. This madwoman is a spiritual figure who occupies an interstitial space, being at once of this world and of the body, while also able to channel the divine. De Certeau’s mad, mystic woman represents an abject body, constructed from humanity’s scraps. She is the embodiment of all that is excessive, and while this places her outside of society, it nonetheless permits her to introduce new possibilities and new means of communicating and speaking. Her words cross lines, existing outside of the modes of speech to which we are accustomed, creating new meanings, resulting in a form of mystic speech.1 While de Certeau’s madwoman was from the 16th Century, I looked to a more recent historical period, attempting to situate a more manifestation of this type of mystic speech in the British punk rock scene of the 1970s. While the self-consciously nihilistic punk movement would seem at face value to have little to no connection with mysticism and religiosity, some women working in punk rock were able to translate punk rock idioms into transgressive, feminist ways of speaking, that, I will argue, can be understood as a form of mystic speech. The Slits, considered among the most iconoclastic punk bands of the late 1970s and early 1980s, construct a musical performance of bodily abjection through the use of musical sounds and particular vocalizations that emphasize the abject female body. -
Fab Distribution
F.A.B. DISTRIBUTION NEW RELEASE for the week of Feb 19, 2021 PRIORITIES & HIGHLIGHTS >> Pre-Order Now! ATARIS "Look Forward To Failure (EP)” (FAT WRECK) FAT581 10" March 12 street date. First time on vinyl! "Look Forward To Failure" is a 6 track EP, originally released in 1998. The EP was the first appearance of feature fan favourite "San Dimas High School Football Rules", a song that would later appeared on "Blue Skies, Broken Hearts...Next 12 Exits". The version of "My Hotel Year" that appears on this EP is the electric version and contains an extra verse at the end. The version that ended up on "Blue Skies" was acoustic and shortened. BOWERBIRDS "becalmyounglovers" (PSYCHIC PSY010 CD BOWERBIRDS "becalmyounglovers (teal)” (PSYCHIC PSY010LPC1 LP April 30 street date. "becalmyounglovers" is as much a return as it is a farewell. Phil Moore's first Bowerbirds album since 2012 is an artifact of transition, a domino effect of doors closing and Moore stumbling headfirst into the uncertainty of what comes after a life fundamentally changes. Like a polaroid slowly swimming into focus, "becalmyounglovers" reconciles the memories of yourself in relation to another person, and then what's unearthed when you're left to face your identity alone - and which one of those selves is true? Written and recorded mainly in an isolated cabin hand built by Moore and his ex-partner, out in Siler City, North Carolina, "becalmyounglovers" chronicles a long-term relationship's death rattle, inevitable breakup, and its immediate aftermath - and Moore's getting to understand himself better in the process.