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Shogun's Local Legacy Kathleen Hanna True Widow
Vol. 24 • Issue 297 • September 2013 • slugmag.com • Always Free Shogun’s Local Legacy Kathleen Hanna True Widow slugmag.com 1 2 SaltLakeUnderGround slugmag.com 3 SaltLakeUnderGround • Vol. 24 • Issue #297 • September 2013 • slugmag.com facebook.com/SLUG.Mag @SLUGMag @SLUGMag youtube.com/user/SLUGMagazine Publisher: Eighteen Percent Gray Marketing Manager: Editor: Angela H. Brown Karamea Puriri Managing Editor: Esther Meroño Marketing Team: Ischa B., Sabrina Costello, Editorial Assistant: Alexander Ortega Kristina Sandi, Brooklyn Ottens, Angella Luci- Office Coordinator:Gavin Sheehan sano, Nicole Roccanova, Raffi Shahinian, Vic- Digital Content Coordinator: Cody Kirkland toria Loveless, Zac Freeman, Cassie Anderson, Copy Editing Team: Esther Meroño, Alexan- Cassie Loveless, Shley Kinser, Matt Brunk, Robin der Ortega, Mary E. Duncan, Cody Kirkland, Sessions, Carl Acheson, Chandler Hunt Johnathan Ford, Alex Cragun, Rachel Miller, Ka- Social Media Coordinator: Catie Weimer tie Bald, Liz Phillips, Allison Shephard, Laikwan Waigwa-Stone, Shawn Soward Distribution Manager: Eric Granato Distro: Eric Granato, Tommy Dolph, Tony Cover Designer: Joshua Joye Bassett, Nancy Burkhart, Adam Okeefe, Ryan Lead Designer: Joshua Joye Worwood, John Ford, Matt Pothier, Phil Cannon, Design Team: Eleanor Scholz, BJ Viehl, Lenny Tim Kronenberg, Justin Nelson-Carruth, Xkot Riccardi, Chad Pinckney, Mason Rodrickc Toxsik, Nancy Perkins Ad Designers: Kent Farrington, Sumerset Bivens, Christian Broadbent, Kelli Tompkins, Eric Senior Staff Writers: Mike Brown, Mariah Sapp, Brad Barker, Paden Bischoff, Maggie Mann-Mellus, James Orme, Lance Saunders, Zukowski, Thy Doan, KJ Jackett, Nicholas Dowd, Bryer Wharton, Peter Fryer, James Bennett, Ricky Nick Ketterer Vigil, Gavin Hoffman, Esther Meroño, Rebecca Website Design: Kate Colgan Vernon, Jimmy Martin, Ben Trentelman, Princess Office Interns: Carl Acheson, Robin Sessions, Kennedy, Sean Zimmerman-Wall, Cody Hudson, Alex Cragun, Chandler Hunt Shawn Mayer, Dean O. -
Katalog Zur Ausstellung
ARCHIV DER JUGENDKULTUREN (HRSG.) DER Z/WEITE BLICK JUGENDKULTUREN UND DISKRIMINIERUNGEN Archiv der Jugendkulturen (Hrsg.) DER Z/WEITE BLICK JUGENDKULTUREN UND DISKRIMINIERUNGEN Ausstellungseröffnung im Archiv der Jugendkulturen e.V., Berlin, 2017, Foto: Boris Geilert IMPRESSUM Archiv der Jugendkulturen e. V. Fidicinstraße 3 10965 Berlin Tel. 030–6942934 Fax 030–6913016 E-Mail: [email protected] Web: www.jugendkulturen.de Autor*innen / Redaktion: DJ Freshfluke, Jule Naima Fröhlich, Martin Gegenheimer, Florian Hofbauer, Tino Kandal, Edyta Kopitzki, Svetla Koynova, Bianca Loy, Gabriele Rohmann, Lisa Schug, Farina Wäcker Illustrationen: Gabriel S Moses, www.gabsmoses.com Lektorat: Berlin Lektorat und Nadine Marcinczik © Archiv der Jugendkulturen e. V. 2018 Die Veröffentlichung stellt keine Meinungsäußerung des BMFSFJ bzw. des BAFzA dar. Für inhaltliche Aussagen trägt der Autor/die Autorin bzw. tragen die Autoren/Autorinnen die Verantwortung. VORWORT Jugendkulturen sind wichtige Orte für (überwiegend) junge Sexismus und Homo- und Transfeindlichkeit – aber auch Menschen, an denen sie ihren Gedanken, Einstellungen, Hal- positive Aspekte wie jugendkulturelle Initiativen oder Pop- tungen, Reflexionen über sich und die Welt in Kleidung, Spra- Künstler*innen, die sich gegen Diskriminierungen in ihren che, Musik und Medien kreativen Ausdruck verleihen können. Szenen oder im Mainstream wehren und sich auf diese Weise Sie bieten Heranwachsenden Möglichkeiten, künstlerisch, zivilgesellschaftlich für die Gleichwertigkeit von Menschen ein- gesellschaftlich -
The Art Worlds of Punk-Inspired Feminist Networks
! The Art Worlds of Punk-Inspired Feminist Networks ! ! ! ! ! ! A social network analysis of the Ladyfest feminist music and cultural movement in the UK ! ! ! ! ! ! A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities ! ! ! 2014 ! ! Susan O’Shea ! ! School of Social Sciences ! ! Chapter One Whose music is it anyway? 1.1. Introduction 12 1.2. Ladyfest, Riot Girl and Girls Rock camps 14 1.2.1. Ladyfest 14 1.2.2. Riot Grrrl 16 1.2.3. Girls Rock camps 17 1.3. Choosing art worlds 17 1.4. The evidence: women’s participation in music 20 1.5. From the personal to the political 22 1.6. Thesis structure 25 Chapter Two The dynamics of feminist cultural production 2.1. Introduction 27 2.2. Art Worlds and Becker’s approach 29 2.3. Punk, Riot Grrrl and Ladyfest 32 2.3.1. Punk 33 2.3.2. Riot Grrrl 34 2.3.3. Ladyfest 40 2.4. The political economy of cultural production 41 2.5. Social movements, social networks and music 43 2.6. Women in music and art and the translocal nature of action 48 2.6.1. Translocality 50 2.7. Festivals as networked research sites 52 2.8. Conclusion 54 Chapter Three Methodology 3.1. Introduction 56 !2 ! 3.2. Operationalising Art Worlds, research aims and questions 57 3.3. Research philosophy 58 3.4. Concepts and terminology 63 3.5. Mixed methods 64 3.6. Ethics 66 3.6.1. Ethics review 68 3.6.2. -
ORDER FORM FULL Pdfcd
JAZZ ARTIST TITLE LABEL RETAIL BILK, ACKER STRANGER ON THE SHORE-BEST OF GNP CRESCENDO RM59.00 CAINE, ELLIOTT - SEXTET HIPPIE CHICKS ON ACID (LIVE AT ALVA WONDERCAP RM63.00 DJ BONEBRAKE TRIO THE OTHER OUTSIDE WONDERCAP RM63.00 GRADY, KRAIG BEYOND THE WINDOWS PERHAPS AMONG TH TRANSPARENCY RM48.00 HARLEY, RUFUS BAGPIPES OF THE WORLD TRANSPARENCY RM61.00 HARLEY, RUFUS RE-CREATION OF THE GODS TRANSPARENCY RM61.00 JONES, NORAH COME AWAY WITH ME (BONUS DISC) BLUE NOTE RM132.00 LEONARDSON, ERIC & STEVE BARSOTTI RAREBIT TRANSPARENCY RM48.00 LOS ANGELES FREE MUSIC SOCIETY THE BLORP ESETTE GAZETTE VOL.1 (FAL TRANSPARENCY RM61.00 LOS ANGELES FREE MUSIC SOCIETY THE BLORP ESETTE GAZETTE VOL.2 (WIN TRANSPARENCY RM61.00 MINGUS, CHARLES THE LEAVES JAZZ CAT RM67.00 MONK, THELONIOUS SOULVILLE JAZZ CAT RM67.00 MORGAN, LEE AFTER THE LIGHTS JAZZ CAT RM67.00 OMER, PIERRE - SWING REVUE SWING CREMONA VOODOO RHYTHM RM78.00 PATCHEN, KENNETH READS HIS POETRY WITH JAZZ TWO-BEAT BEATNK RM61.00 PUSSYWARMERS, THE THE CHRONICLES OF... VOODOO RHYTHM RM78.00 ROACH, MAX & CLIFFORD BROWN IN CONCERT GNP CRESCENDO RM59.00 ROYAL CROWN REVUE KINGS OF GANGSTER BOP BYO RM53.00 SUN RA DANCE OF THE LIVING IMAGE (L.R. 4) TRANSPARENCY RM61.00 SUN RA LIVE AT THE ELECTRIC CIRCUS/NEWPORT TRANSPARENCY RM62.00 SUN RA THE CREATOR OF THE UNIVERSE TRANSPARENCY RM61.00 SUN RA THE ROAD TO DESTINY (LOST REEL 6) TRANSPARENCY RM55.00 SUN RA THE SHADOWS TOOK SHAPE (LOST REEL 3 TRANSPARENCY RM61.00 SUN RA THE UNIVERSE SENT ME (LOST REEL 5) TRANSPARENCY RM55.00 SUN RA UNTITLED RECORDINGS TRANSPARENCY -
Read the Following Text and Answer the Questions. the Riot
Read the following text and answer the questions. The riot grrrl returns Dan Hancox – October 3, 2013 – The National Among the various waves of western feminism and rebellious youth subcultures since the 1960s, riot grrrl stands out as one of the most provocative, but also one of the most thoughtful and deliberative. Its roots were in the punk and new wave music and attitude of the late 1970s and 1980s, but it was not until the early 1990s that the term emerged from the punk scenes of Washington DC and the north-western region of the United 5 States, drawing on a growing youth feminist movement and the DIY youth culture embodied in homemade, cut-and-paste fanzines. References to “revolution girl style now” and “riot girls” mutated into the punk growl not of docile girls but “grrrls”. It was quickly and substantially misunderstood by the very culture they were rebelling against: as bands like Bikini Kill and Bratmobile began to attract attention beyond the punk underground, so did the American 10 media’s excitement about this “new big thing”, in the aftermath of grunge. This excitement quickly manifested itself in a tendency to generalise, fetishise and trivialise the things the riot grrrls were singing about, and conveying through their broader aesthetics: in fanzines, onstage, or otherwise. “There were,” Sharon Cheslow said in the 11-part Riot Grrrl Retrospective documentary, “a lot of very important ideas that I think the mainstream media couldn’t handle, so it was easier to focus on the fact that these were girls who 15 were wearing barrettes in their hair or writing ‘slut’ on their stomach.” Covering issues like misogyny, abuse and patriarchy were considered too contentious or complex for the American mainstream, and instead, the movement was patronised in a way which confirmed much of their original anger. -
Die Radikalen Möglichkeiten Der Lust
# 2018/45 dschungel https://jungle.world/artikel/2018/45/die-radikalen-moeglichkeiten-der-lust Riot-Grrrl Kathleen Hanna wird 50 Die radikalen Möglichkeiten der Lust Von Vojin Saša Vukadinović Bikini Kill, Le Tigre, The Julie Ruin und vieles mehr: Zum 50. Geburtstag von Kathleen Hanna. Kathleen Hanna hat es stets abgelehnt, als Sprecherin der Riot-Grrrl-Bewegung tituliert zu werden. Diese revolutionierte zu Beginn der neunziger Jahre zunächst den Punk, um später solch einen Einfluss auf die nachfolgende Generation von Mädchen, Frauen und auch Männern auszuüben, dass sie zu Recht als entscheidenden Wegmarke der jüngeren Geschichte des Feminismus gilt. Gleichwohl wird kein Porträt der ehemaligen Sängerin der Band Bikini Kill eine personalisierende Bestandsaufnahme ebenjener Bewegung aussparen können, weil es Hannas persönlicher Einsatz, ihre beharrlichen Anstrengungen und ihre künstlerischen Leistungen waren, die mit zum kollektiven Erfolg beitrugen, der den Namen »Riot Grrrl« trägt. Was 1991 unter dieser Bezeichnung seinen Anfang nahm, begann zunächst als Aufstand gegen die unverhohlene Misogynie und den handfesten Sexismus, der in Punk- und Hardcore-Kreisen üblich war. Frauen, die sich in den Moshpit wagten, wurden oftmals begrapscht. Die verrohten Fraktionen besangen schamlos die Entwertung des weiblichen Geschlechts, womit vordergründig Eltern, Gesellschaft oder Staat provoziert werden sollten. Obwohl diese taktische Brüskierung regelmäßig frauenverachtend wurde, konnte sie jahrelang weitgehend unwidersprochen als trotzige Geste durchgehen. -
An Interview with Sara Landeau, American Music Review, Vol. XLIX
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIX, Issue 2 Spring 2020 Accidental Ideas: An Interview with Sara Landeau Lindsey Eckenroth Back in the pre-COVID times, I sat down with musician, teacher, and The Julie Ruin guitarist Sara Landeau at The Coffee Project in Fort Greene, Brooklyn. We talked composing, performing, teaching, timbre, genre, CBGB, inspirations from everywhere, rockumentaries, and the inexorable challenge of knowing when it’s done. The following is an approximate transcript of our sprawling conversation. *** LE: To start, can you tell me about how you got into playing music, when you decided you wanted to make it your career, and how you made that happen? SL: I thought I was going to go to art school, so I just planned to be an artist. I started playing drums at eighteen and guitar at nineteen. I got very into it … just practiced eight hours a day. Then I went to Columbia University for art history. I also worked at CBGB as a bartender, and my band played there. We were an all-woman band; there were three of us, and we played a lot because we all worked at CBGB. At the same time, I kept studying. I went to Juilliard for a while to study classical guitar, which was great, and I just kept taking courses. Then, starting in 2005, I became a volunteer at the Girls Rock Camp. I met Kathleen [Hanna] there—she was also a volunteer—and we started our band [The Julie Ruin] shortly after.1 Kathleen and I had a lot of mutual friends from the scene, and definitely our idea of feminism was the same, plus we both liked the same music. -
Download and Print a Tober 26, at 9:55Am, Doors Open at 9:15Am
ALWAYS FREE Lighthouse October 2019 Peddler Ready 2 Go The Guide To Music, Events, Theater, Film, Art, Poetry, and Life on the Mendocino Coast “Jazz In The Autumn” An Intimate Evening of Music at Gualala Arts October 26 Jazz In Te Autumn returns with another solid Larry Vuckovich will join Davis for this perfor- evening of music. On Saturday, October 26, the mance. A consummate pianist, Vuckovich will Elaine Jacob Foyer at Gualala Arts will be flled be as much a foundation as accompaniment to with Blues and Standards. Te music starts at Davis’ voice. Both performers are music masters 6:30pm with Jamie Davis, vocals, Larry Vuckov- who have recently sold out shows at such pres- ich, piano and Jef Chambers, bass. tigious Bay Area venues as Oakland’s Yoshi’s. Jamie Davis, who appeared as a vocalist on Vuckovich will also treat the audience to solo the Grammy-nominated album “All About Tat piano gems from his repertoire of enchanting Basie” brings an amazing talent and absolute au- lyrical piano favorites. thenticity to the music. Davis is one of the few Rounding out the trio is Jef Chambers on bass. jazz bass baritone rich voices performing today. Chambers is San Francisco’s versatile and sought His sound evokes the timeless timbres of historic afer bassist whose biography of collaborations singers such as Billy Eckstine, Joe Williams and reads like a virtual “who’s who” in jazz. the revered entertainer Lou Rawls. A talent familiar with music lovers on the coast, “Jazz In Te Autumn” continues on page 12. -
MEDLYN PR 122011V2
Press Contact: Blake Zidell & Associates tel: 718.643.9052 fax: 718.643.9502 [email protected] For Immediate Release The Kitchen presents Wicked Clown Love, A new performance work by artist Neal Medlyn Thursday – Saturday, February 2 – 4 New York, NY, December 20, 2011 – From Thursday to Saturday, February 2 – 4, The Kitchen presents Wicked Clown Love, a new work from performance artist Neal Medlyn. The sixth in Medlyn’s ongoing pop star series, Wicked Clown Love is built around the music and culture of hip-hop duo Insane Clown Posse, their devoted fan base the Juggalos, and other forms of male bonding and ritual. Starring Medlyn, Carmine Covelli, Farris Craddock and others, the piece features design by Madeline Best (lighting), Kathleen Hanna (set) and Larry Krone (costume). Performances will take place at 8:00 PM at The Kitchen (512 West 19th Street). Tickets are $15. Wicked Clown Love is Neal Medlyn’s dark specter version of the Insane Clown Posse (ICP) world, incorporating influences ranging from the writings of Mythopoetic Men’s Movement figure Robert Bly, especially his popular book Iron John: A Book About Men and his analysis of Grimm’s fairy tales, to visual design elements that reference dollar store displays, haunted houses, and the TV show COPS. In addition to their infamous clown face painting and the Juggalos, ICP is known for a type of Midwestern, underground, hardcore rap laced with horror film references called horrorcore. Medlyn’s show will feature rap and spoken word, terror and horror, male bonding activities like flashlight wrestling, Faygo showers, clown love and more. -
Scb Spring 2021
SCB SPRING 2021 SCB: TRULY INDEPENDENT SCB DISTRIBUTORS IS Adele Renault PROUD TO INTRODUCE Happyluja Spiritual Arts Institute SCB THANKS Daniel & Daniel Publishers and Perseverance Press We are dedicating this catalog to Susan and John Daniel, two lovely, accomplished book people and dedicated partners. With this season, they are closing the doors of their beloved publishing company after 35 years of lively mysteries, really good poetry and many other interesting books – almost 1,000 titles! We have so enjoyed working with them, and we’re going to miss talking with them and seeing their new books each season. Fare thee well, friends! SCB: TRULY INDEPENDENT The cover image for this catalog is from the book Living with Clay: California Ceramics Collection, Rody N. Lopez. Mimbres Black and White Bowl: Double Fish A.D. 950-A.D. 1300. From the MAW Collection of Pre-Columbian Art. Photograph by Eric Stoner. This title is published by Grand Central Press and may be found on page 93 of this catalog. Catalog layout by Dan Nolte, based on an original idea by Rama Crouch-Wong. Erase the Patriarchy An Anthology of Erasure Poetry Edited by Isobel O’Hare These erasure poems embody the desire for a paradigm shift on a global political scale. Familiar statements and treatises are transformed into poetic versions of what could emerge when we resist the vicious machine of patriarchal capitalism. The 53 contributors herein lay bare the paths forward. Erasing what no longer serves us can reveal another avenue from which to begin. Isobel O’Hare is a poet and essayist who wrote 3 chapbooks and all this can be yours (University of Hell, 2019). -
The Bookworm Literary Festival Authors | MARCH 2016 | 5 CITYCITYTHE BUZZ
Follow us on WeChat Now THE Advertising Hotline 400 820 8428 BOOKWORM 城市漫步北京 英文版 3 月份 国内统一刊号: LITERARY CN 11-5232/GO China Intercontinental Press ISSN 1672-8025 FESTIVAL The Writers, In Conversation MARCH 2016 主管单位 :中华人民共和国国务院新闻办公室 Supervised by the State Council Information Office of the People's Republic of China 主办单位 :五洲传播出版社 地址 :北京市海淀区北三环中路31 号生产力大楼 B 座 602 邮编 100088 B-602 Shengchanli Building, No. 31 Beisanhuan Zhonglu, Haidian District, Beijing 100088, PRC http://www.cicc.org.cn 社长 President of China Intercontinental Press 李红杰 Li Hongjie 期刊部负责人 Supervisor of Magazine Department 邓锦辉 Deng Jinhui 编辑 Editor 朱莉莉 Zhu Lili 发行 / 市场 Distribution / Marketing 黄静,李若琳 Huang Jing, Li Ruolin Editor-in-Chief Oscar Holland Food & Drink Editor Noelle Mateer Staff Reporter Dominique Wong National Life & Style Editor Marianna Cerini National Arts Editor Andrew Chin Designers Li Xiaoran, Iris Wang Staff Photographer Holly Li Contributors Mia Li, Trevor Marshallsea, Sophia Pederson, Ned Kelly, Aaron Ma, Earl Robertson, Jennifer Peart, Jens Bakker, Kate De Silva Urbanatomy Media Shanghai (Head office) 上海和舟广告有限公司 上海市蒙自路 169 号智造局 2 号楼 305-306 室 邮政编码 : 200023 Room 305-306, Building 2, No.169 Mengzi Lu, Shanghai 200023 电话 : 021-8023 2199 传真 : 021-8023 2190 (From February 13) Beijing 广告代理 : 上海和舟广告有限公司 北京市东城区东直门外大街 48 号东方银座 C 座 9G 邮政编码 : 100027 48 Dongzhimenwai Dajie Oriental Kenzo (Ginza Mall) Building C Room 9G, Dongcheng District, Beijing 100027 电话 : 010-8447 7002 传真 : 010-8447 6455 Guangzhou 上海和舟广告有限公司广州分公司 广州市越秀区麓苑路 42 号大院 2 号楼 610 房 邮政编码 : 510095 Room -
Kathleen Hanna
Grace Bonney: 00:10 Hi, and welcome to Good Company, a podcast where we take an honest look at the world of creative business. I'm your host, Grace Bonney. On this week's show, I'm talking with one of my biggest heroes, singer, artist, and activist Kathleen Hanna. Kathleen is the voice behind some of the most influential and inspiring bands, like Bikini Kill, Le Tigre, and the Julie Ruin. She's used her music, her art, and her voice to talk about politics, feminism, women's rights, domestic violence, and so many important issues. Her voice has inspired generations of women and all people, to speak up and speak out about the issues that mean the most to them. I visited Kathleen in her home in California, where she had just celebrated the launch of her newest proJect, Tees 4 Togo, the new T-shirt collection where all proceeds go to the nonprofit organization Peace Sisters, which helps send young girls to school in the West African nation of Togo. Kathleen and I talked about her music career, life in the early days of a Riot Girl, and intersectional feminism. We also talked about the need for nuance, gray areas, and independent thought in both activism and art. And we talk about what and who is inspiring Kathleen to create today. So, let's start the show. So, your musical career is legendary. And I try not to throw that word around. But one of the things I want to start with is, I don't think most people know that you have a history in design.