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MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
Punk Aesthetics in Independent "New Folk", 1990-2008
PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames -
Chris Coady Discography
Just Managing 99 Reade Street PHW New York City, NY 10013 [email protected] (212) 571-3591 Chris Coady Discography Smith Westerns Forthcoming Fat Possum Prod/Mix/Eng Gang Gang Dance Forthcoming 4AD Engineer Cult Of Youth TBA Sacred Bones Prod/Mix/Eng Kele (Bloc Party) “Tenderoni” Atlantic Mix Abe Vigoda Crush PPM Prod/Mix/Eng Lower Dens Twin Hand Movement Gnomonsong Mix Zola Jesus “Poor Animal” Sacred Bones Prod/Mix Golden Triangle Double Jointer Hardly Art Prod/Mix/Track We Are Scientists Barbara MRI Recordings Tracking Delorean Subiza True Panther Mix Yeah Yeah Yeah’s iTunes Original Session iTunes Engineer/Mix Beach House Teen Dream Sub Pop Prod/Mix/Track Islands Vapours Anti- Producer/Mixer Dappled Cities Zounds Dangerbird Producer/Mixer ...Trail of Dead The Century Of Self Justice Producer/Mixer Grizzly Bear Yellow House Warp Mix Emma Daumas Le Chemin de La Maison Universal France Mixer Marisa Nadler Little Hells Kemado Producer/Mixer Soft Forthcoming Fabtone Produce/Engineer TV on the Radio Dear Science Interscope Engineer Lemonade Lemonade True Panther Producer/Mixer Gang Gang Dance Saint Dymphna Social Registry Engineer We Are Scientists Brain Thrust Mastery Virgin Records Engineer Telepathe Dance Mother Angular Tracking/Mixer Golden Animals Free Your Mind Happy Part Producer/Mixer The Foals Antidotes Sub Pop Tracking Dragons of Zynth Coronation Thieves Gigantic Mixer We Are Scientists Brain Thrust Mastery Virgin Tracking Architecture in Helsinki Heart it Races Polyvinyl/V2 Tracking/Mixing Thank You Terrible Two Thrill Jockey -
An Examination of Gender and Subjectivity in Hubert Selby
OBSCENITY, GENDER, AND SUBJECTIVITY OBSCENITY, GENDER, AND SUBJECTIVITY: AN EXAMINATION OF GENDER AND OBSCENITY IN HUBERT SELBY JR.'S LAST EXIT TO BROOKLYN, GLORIA NAYLOR'S THE WOMEN OF BREWSTER PLACE, AND NTOZAKE SHANGE'S FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE WHEN THE RAINBOW IS ENUF BY BRUCE ROBERT ALLAN LORD, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University (c) Copyright by Bruce R.A. Lord, September 1991 MASTER OF ARTS (1991) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Obscenity, Gender, and Subjectivity: An Examination of Gender and Subjectivity in Hubert Selby Jr.'s Last Exit to Brooklyn, Gloria Naylor's The Women of Brewster Place, and Ntozake Shange's for colored girls who have considered suicide when the rainbow is enuf AUTHOR: Bruce Robert Allan Lord, B.A. (University of Western Ontario) SUPERVISOR: Dr. Mary O'Connor NUMBER OF PAGES: vi, 87 ii Abstract This thesis examines how obscenity can be used either to maintain or to challenge gender stereotypes. Though this thesis focuses on only three texts, the questions raised concerning the relation between obscenity, gender, and subjectivity have wide applications. The primary theory applied here is a feminist poststructuralism which sees gender as socially constructed through language. According to poststructuralism, everything is formed socially or culturally through language. This includes the realities people experience of themselves and their surroundings; therefore, the language used to describe, and ultimately to construct, gender, is extremely important for a feminist critique of gender construction in our patriarchal society. -
DIANE CLUCK DIANE Diane Cluck Is Telling Stories but Speed up My Need to Make Music When I Began Losing Interest in Pi- Giving Nothing Away
dianeinterview by alan pedder cluck photos by luca etter 4 DIANE CLUCK diane cluck is telling stories but speed up my need to make music when i began losing interest in pi- giving nothing away. so far, so tho i don’t feel the city as an influ- ano guitar felt more mutable and journalistic cliché you may think, ence anymore subtle i like the way guitar works but there are precious few better with my body ways to describe the emotional rumour has it that you’re a nu- snapshots that constitute her tritionist by trade. any top tips how hard has it been for you uniquely and unflinchingly poetic for staying in good voice? to sell your music? are illegal songs. from her coolly narrative i often drink sage tea with honey downloads really harming inde- early work to the electric internal- before and during shows it helps pendent artists? ising of this year’s oh vanille/ova to open up my voice and ward off i haven’t been trying to sell music nil, cluck has a way of sequester- infection so it hasn’t been hard sometimes ing secrets and smuggling them i sell cds or get paid for shows and into your heart. stylistically, her is there a story behind the title sometimes i don’t origins lie closer to the circum- oh vanille/ova nil? i’ve never been harmed by an il- ference of the new york antifolk there is a story i actually just de- legal download people should do movement, a seemingly boundless leted it after typing it out and rev- what they like upload, download, reservoir of the offbeat and arty, eling in its cuteness i was walking freeload it doesn’t -
Censorship of Rock-And-Roll in the United States and Great Britain
NYLS Journal of International and Comparative Law Volume 12 Number 3 FOURTH ANNUAL ERNST C. STIEFEL SYMPOSIUM: THE PRIVATIZATION OF Article 7 EASTERN EUROPE 1991 LYRICS AND THE LAW: CENSORSHIP OF ROCK-AND-ROLL IN THE UNITED STATES AND GREAT BRITAIN Marilyn J. Flood Follow this and additional works at: https://digitalcommons.nyls.edu/ journal_of_international_and_comparative_law Part of the Law Commons Recommended Citation Flood, Marilyn J. (1991) "LYRICS AND THE LAW: CENSORSHIP OF ROCK-AND-ROLL IN THE UNITED STATES AND GREAT BRITAIN," NYLS Journal of International and Comparative Law: Vol. 12 : No. 3 , Article 7. Available at: https://digitalcommons.nyls.edu/journal_of_international_and_comparative_law/vol12/iss3/ 7 This Notes and Comments is brought to you for free and open access by DigitalCommons@NYLS. It has been accepted for inclusion in NYLS Journal of International and Comparative Law by an authorized editor of DigitalCommons@NYLS. LYRICS AND THE LAW: CENSORSHIP OF ROCK-AND-ROLL IN THE UNITED STATES AND GREAT BRITAIN 1. INTRODUCTION The year 1954 marks a watershed in American popular music-the beginning of rock-and-roll. Thirty-eight years later rock-and-roll is still a vibrant and distinct music form, although difficult to define because of its complex blend of influences and its evolution over four decades. Carl Belz, a music historian, uses the you-know-it-when-you-hear-it approach, namely, that "[a]ny listener who wants rock defined specifically is probably unable to recognize it."' Rock music has always had dedicated fans and equally devoted enemies. This note will explore the attempts to censor rock music, comparing censorship efforts in the United States with those in Great Britain. -
The Body and Soul of Funk by Ketch Morse Your Gut with the First Chord and Ensuing Something Great
KTRU 91.7 FM FALL 2007 A Rookie’s Guide to the Houston Scene By KTRU Staff two most famous groups: ZZ Top and lificacy, however, has been outmatched Spain Colored Orange, Bring Back the Houston is one of the best-kept secrets Destiny’s Child. by his reclusiveness; despite capturing Guns, and the Dimes, and acts like Mo- of American culture. Though Houston In addition to these superstars, Houston the imagination of three generations of tion Turns It On and Sharks and Sailors artists have made fascinating and diverse also nurtures a thriving underground that music geeks, Jandek has given only two push prog rock into new and exciting ter- contributions to popular music, the city has is little-known outside the city. Its history interviews in his entire life, and did not ritory. Local rock labels are popping up at an unjustified reputation as something of a can traced, roughly, to the Texas psyche- give the first of his still-meager handful of a nearly unprecedented rate, providing a cultural wasteland. Part of that reputation delic movement of the late 60s. Houston live performances until 2004 (in Glasgow, desperately needed foundation for local art- is due to comparison to Houston’s close was home to both the movement’s found- Scotland oddly enough), 26 years after the ists. Meanwhile, extreme heavy metal has neighbor Austin, which for decades was ing record label, International Artists, and start of his “career.” been and continues to be one of Houston’s one of the capitals of American counter- one of its most influential and long-lived The unrestrained imagination of artists specialties, with locals like Braced for culture—part of it is due to a virtually bands, the Red Krayola. -
Abortion Rally at Ridge Manor
INSIDE Including The Bensonhurst Paper Aged diner gets glam facelift Published weekly by Brooklyn Paper Publications Inc, 26 Court St., Brooklyn 11242 Phone 718-834-9350 AD fax 718-834-1713 • NEWS fax 718-834-9278 © 2003 Brooklyn Paper Publications • 12 pages including 4 pages GO BROOKLYN • Vol. 26, No. 4 BRG • January, 27, 2003 • FREE Abortion rally at Ridge Manor NOW protests Marty Golden’s stance By Deborah Kolben dent of the Brooklyn chapter of the I really wouldn’t vote him.” The Brooklyn Papers National Organization for Women Protestor Maritza Shelley, who car- (NOW), the key organizer of the ried a sign reading, “Golden, anti- Sporting signs with pictures of event. abortion? Don’t have one!” said she wire hangers and the words, “We Under layers of hats and scarves in remembered her best friend having an won’t go back,” a small group of the sub-zero wind, protesters marched abortion on her kitchen table when demonstrators gathered outside the back and forth in front of the catering they were still illegal. Bay Ridge Manor Wednesday hall owned by Golden, a former city “Hangers are not just a symbol,” afternoon to protest what they are councilman who defeated Vincent Shelley said. “They were actual tools. calling state Sen. Marty Golden’s Gentile in the race for the newly We have fought too hard for this to “War on Women.” drawn Bay Ridge-Bensonhurst-Dyker just let it go.” / Greg Mango / Greg Commemorating the 30th anniver- Heights district in November. Golden Reached for comment after the sary of Roe. -
Detroit Aesthetic in Mid-Twentieth-Century Literature Jenna F
Wayne State University Wayne State University Dissertations 1-1-2015 Sex, Labor, And The American Way: Detroit Aesthetic In Mid-Twentieth-Century Literature Jenna F. Gerds Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Recommended Citation Gerds, Jenna F., "Sex, Labor, And The American Way: Detroit Aesthetic In Mid-Twentieth-Century Literature" (2015). Wayne State University Dissertations. Paper 1131. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. SEX, LABOR, AND THE AMERICAN WAY: DETROIT AESTHETIC IN MID-TWENTIETH-CENTURY LITERATURE by JENNA GERDS DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2015 MAJOR: ENGLISH Approved by: __________________________________________ Advisor Date __________________________________________ __________________________________________ __________________________________________ __________________________________________ DEDICATION To Louis and Beatrice. ii ACKNOWLEDGEMENTS Endless thanks to my insightful committee members, Drs. Barrett Watten, Renata Wasserman, Jonathan Flatley, and Dora Apel. I would especially like to acknowledge Dr. Barrett Watten’s support and thoughtful feedback, both on this project and throughout the entirety of my graduate education. I would like to thank Miriam Frank and Linda Banks Downs for their insight and will- ingness to meet and talk with a humble graduate student. Thank you to my friends, Mark Brown in particular, for his sage advice. And the warmest expression of gratitude to my family, especially Carl and Roslyn Gerds, who encouraged me throughout this process, Beth Jablonowski, and Cait- lin Gerds Habermas and Phyllis Gerds, without whom my syntax would be increasingly awkward and my voice ever more passive. -
BRITTANY HOWARD NORISKDISC Major Muscle • Independent Spirit
13 september 2019 - nr. 360 Het blad van/voor muziekliefhebbers BRITTANY HOWARD NORISKDISC major muscle • independent spirit proudly presents ci Iggy Pop 06.09 De ‘Godfather of Punk’ Iggy Pop komt met een geheel nieuwe plaat genaamd ‘Free’! ‘Free’ lijkt in geen opzicht op zijn voorgangers. “This album just kind of happened to me.” - Iggy Pop Clairo Metronomy 13.09 16.08 Metronomy is terug met Met haar ‘slaapkamer’ ‘Metronomy Forever’! Het single ‘Pretty Girl’ ging Clairo album bevat funk, energieke viral. “One of the smartest, club vibes, esoterische pop subtlest young musicians en wordt afgewisseld met around, and someone with melodieuze elektronische plenty more tricks up her tracks. sleeve” – NME (5*) Twin Peaks 13.09 De altijd veranderende rock band Twin Peaks is terug met het nieuwe album ‘Lookout Low’. Het album barst van de energie waarin de band hun enthousiasme, authenticiteit en passie deelt. Sleater-Kinney Denzel Curry 16.08 The Center Won’t Hold is 09.08 het tiende studio album van ZUU is de opvolger van het de iconische Amerikaanse album TA1300. Dit album vrouwenband. “Sums up gaat muzikaal terug naar zijn everything that makes the basis in Zuid-Florida. “Een band great, now and forever” halfuur schaamteloos goeie – Rolling Stone (4*) en harde hiphop” - Indie Style MANIA NO RISK DISC BRITTANY HOWARD Jaime (Columbia/Sony Music) LP zandkleurig, CD Brittany Howard, frontvrouw en gitariste van Alabama Shakes, stond voor een dilemma na twee schitterende funk, druggy soul ballads, hip-hop loops en nog veel platen met haar band. De rest van haar leven meer laat horen. -
Tool the Commonheart Robert Randolf & the Family
TANYA TUCKER COMMON REDD KROSS ROBERT RANDOLF & THE FAMILY BAND TOOL WHILE I’M LIVIN LET LOVE BEYOND THE DOOR BRIGHTER DAYS FEAR INOCULUM FANTASY LOMA VISTA MERGE RECORDS MASCOT LABEL GROUP RCA RECORDS Produced by (and co-written with) Brandi Carlile Grammy and Academy Award-winning rapper The best rock band you’ve still never heard of, Redd Robert Randolph grew up playing sacred steel music At long last Tool are back with Fear Inoculum – and Shooter Jennings, While I’m Livin’ marks Tanya Common’s twelfth studio album Let Love was inspired Kross, invite you to explore Beyond the Door, an – basically gospel played on pedal steel guitar – in the an album perfectly titled for these strange times. Tucker’s first release of all new material since 2002’s by his 2019 memoir Let Love Have the Last Word, album inspired by the band’s “total commitment to House of God church in Orange, NJ, and proceeded to Preceded by the sprawling 10-minute plus title cut Tanya. “It’s a musical biography of sorts,” says Carlile, which left him “charged to go to raw, personal and having the best f*cking time we can have while we’re take his joyous, gospel-infused music out to the clubs epic, the 85-minute follow-up to 2006’s 10,000 Days “about Tanya’s real life and the places she’s seen… spiritual places in the music.” Boasting contributions all still here” (what they like to call “The Party”). It’s a and into the world. When it was time to record Brighter was produced by Tool, with Joe Barresi (10,000 Days) And it’s narrated by the greatest country-and-western -
Cover 10-13-2010.Indd
The “I Can’t Believe We’re Doing an Alcopop Issue” Issue page 2 the paper October 13 , 2010 Every issue online and blog posts about everything and nothing. Check us out online: fupaper.wordpress.com Fan mail? Hate mail? “My Anti-alcopop” Write to us! Editors-in-Chief Bobby “Content-aware” Cardos the paper Alex “Pot” Gibbons c/o Offi ce of Student Leadership and Community Development Executive Editors Fordham University Sean “Whiskey (Forever Alone)” Kelly Bronx, NY 10458 Emily “Crocheting” Genetta [email protected] http://groups.google.com/group/fordhampaper News Editors Alex “A 200-Count Box of Sugar Cubes a Day” Orf the paper is a product solely of the students. No part of the publication may Sarah “Glenn Beck” Madges be reproduced without written consent of the editors. the paper is produced us- ing Adobe InDesign, Adobe Photoshop, Microsoft Word, and the incredibly hard Arts Editors work of the people to the right. Photos are mostly “borrowed” from Internet sites Kaitlin “Zebra Cakes” Campbell like: www.google.com, www.imdb.com, www.nambla.org, www.rollingstone.com, www.cnn.com, and occasionally taken by us with an old Polaroid we found in the Chris “Gary Busey” Sprindis attic. Sorry mom, subscriptions are not available. Ad rates are unreasonable – don’t ask. Open staff meetings are held Tuesdays at 8PM at various locations in the Mc- Features Editor Ginley Center. Articles and letters to the editor may be submitted via e-mail to Marisa “Haiku” Carroll [email protected], or scrawled incoherently with crayons on the inside of a Keystone Light 30-rack.