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The New Yorker April 05, 2021 Issue
PRICE $8.99 APRIL 5, 2021 APRIL 5, 2021 4 GOINGS ON ABOUT TOWN 11 THE TALK OF THE TOWN Jonathan Blitzer on Biden and the border; from war to the writers’ room; so far no sofas; still Trump country; cooking up hits. FEED HOPE. ANNALS OF ASTRONOMY Daniel Alarcón 16 The Collapse at Arecibo FEED LOVE. Puerto Rico loses its iconic telescope. SHOUTS & MURMURS Michael Ian Black 21 My Application Essay to Brown (Rejected) DEPT. OF SCIENCE Kathryn Schulz 22 Where the Wild Things Go The navigational feats of animals. PROFILES Rachel Aviv 28 Past Imperfect A psychologist’s theory of memory. COMIC STRIP Emily Flake 37 “Visions of the Post-Pandemic Future” OUR LOCAL CORRESPONDENTS Ian Frazier 40 Guns Down How to keep weapons out of the hands of kids. FICTION Sterling HolyWhiteMountain 48 “Featherweight” THE CRITICS BOOKS Jerome Groopman 55 Assessing the threat of a new pandemic. 58 Briefly Noted Madeleine Schwartz 60 The peripatetic life of Sybille Bedford. PODCAST DEPT. Hua Hsu 63 The athletes taking over the studio. THE ART WORLD Peter Schjeldahl 66 Niki de Saint Phalle’s feminist force. ON TELEVISION Doreen St. Félix 68 “Waffles + Mochi,” “City of Ghosts.” POEMS Craig Morgan Teicher 35 “Peers” Kaveh Akbar 52 “My Empire” COVER R. Kikuo Johnson “Delayed” DRAWINGS Johnny DiNapoli, Tom Chitty, P. C. Vey, Mick Stevens, Zoe Si, Tom Toro, Adam Douglas Thompson, Suerynn Lee, Roz Chast, Bruce Eric Kaplan, Victoria Roberts, Will McPhail SPOTS André da Loba CONTRIBUTORS Caring for the earth. ©2020 KENDAL Rachel Aviv (“Past Imperfect,” p. 28) is a Ian Frazier (“Guns Down,” p. -
Teddy Pendergrass - If You Don’T Know Me
TEDDY PENDERGRASS - IF YOU DON’T KNOW ME A Documentary Film by Olivia Lichtenstein 106 Mins This is the story of legendary singer, Teddy Pendergrass, the man who would have been the biggest R&B artist of all time. The story of a childhood in a Philadelphia ghetto; of the murders of his father and first manager; of sex, drugs, money and global fame; of the triumph against injustice; and of the tragic accident that changed his life forever at the age of only 31. His was a life where, despite poverty, racism, and violence, he managed to become one of the first African-American artists to go multi-platinum over and over again. A man who actively championed the rights of black artists when discrimination was rife. A man who in the years after becoming quadriplegic, overcame depression and thoughts of suicide and resumed doing what he loved best - making music. A man who left a priceless legacy after his death, with the music he had made and the people he touched. With revealing and exclusive interviews from the people who knew Teddy best, a soulful soundtrack, and rarely seen archive, it’s a story that all too few really know and which is crying out to be told… Hammersmith Odeon, London, February 3rd 1982. It’s a cold night and fans – almost all of them women - are swarming at the entrance eager to see their idol, the biggest male R&B artist of the time, even bigger then than closest rivals, Marvin Gaye and Barry White. Teddy Pendergrass – the Teddy Bear, the ‘Black Elvis’ - tall and handsome with a distinctive husky soulful voice that could melt a woman’s clothes clean off her body! 'It took Teddy eleven seconds to get to the point with a girl that would take me two dinners and a trip to meet her parents,' says Daniel Markus, one of his managers. -
Copy UPDATED KAREOKE 2013
Artist Song Title Disc # ? & THE MYSTERIANS 96 TEARS 6781 10 YEARS THROUGH THE IRIS 13637 WASTELAND 13417 10,000 MANIACS BECAUSE THE NIGHT 9703 CANDY EVERYBODY WANTS 1693 LIKE THE WEATHER 6903 MORE THAN THIS 50 TROUBLE ME 6958 100 PROOF AGED IN SOUL SOMEBODY'S BEEN SLEEPING 5612 10CC I'M NOT IN LOVE 1910 112 DANCE WITH ME 10268 PEACHES & CREAM 9282 RIGHT HERE FOR YOU 12650 112 & LUDACRIS HOT & WET 12569 1910 FRUITGUM CO. 1, 2, 3 RED LIGHT 10237 SIMON SAYS 7083 2 PAC CALIFORNIA LOVE 3847 CHANGES 11513 DEAR MAMA 1729 HOW DO YOU WANT IT 7163 THUGZ MANSION 11277 2 PAC & EMINEM ONE DAY AT A TIME 12686 2 UNLIMITED DO WHAT'S GOOD FOR ME 11184 20 FINGERS SHORT DICK MAN 7505 21 DEMANDS GIVE ME A MINUTE 14122 3 DOORS DOWN AWAY FROM THE SUN 12664 BE LIKE THAT 8899 BEHIND THOSE EYES 13174 DUCK & RUN 7913 HERE WITHOUT YOU 12784 KRYPTONITE 5441 LET ME GO 13044 LIVE FOR TODAY 13364 LOSER 7609 ROAD I'M ON, THE 11419 WHEN I'M GONE 10651 3 DOORS DOWN & BOB SEGER LANDING IN LONDON 13517 3 OF HEARTS ARIZONA RAIN 9135 30 SECONDS TO MARS KILL, THE 13625 311 ALL MIXED UP 6641 AMBER 10513 BEYOND THE GREY SKY 12594 FIRST STRAW 12855 I'LL BE HERE AWHILE 9456 YOU WOULDN'T BELIEVE 8907 38 SPECIAL HOLD ON LOOSELY 2815 SECOND CHANCE 8559 3LW I DO 10524 NO MORE (BABY I'MA DO RIGHT) 178 PLAYAS GON' PLAY 8862 3RD STRIKE NO LIGHT 10310 REDEMPTION 10573 3T ANYTHING 6643 4 NON BLONDES WHAT'S UP 1412 4 P.M. -
Ac Know Ledg Ments
A c k n o w l e d g m e n t s In the course of my research, Robert Duncan’s friends, without exception, granted me a share in the generosity, goodwill, and love for life that so char- acterized his being. Two people made a special eff ort to help me understand Robert Duncan’s “dailiness,” and their insights were key factors in the making of this book. Jess Collins agreed that it was an appropriate time for a biography of Duncan to be written, and he welcomed me into his life for a little bit over a de cade, allowing me to experience the rituals of house hold that he had shared with Duncan. Barbara Jones and her family in Bakersfi eld, California, extended me great hospitality. Barbara’s memories of her brother as a child and of their life in the San Joaquin Valley were in all ways illuminating. Th eir insights were key factors in the making of this book. Th is book was also made possible through the ongoing tireless support of my husband, Th omas Evans. His own studies of Jess, Duncan, and the West Coast assemblage artists contributed at every turn to the thoroughness of this book. His companionship allows me to live in a house hold as rich as Jess and Duncan’s. I am grateful to Robert Duncan’s friends, family, students and acquaintances: Gerald Ackerman, Robert Adamson, the late Virginia Admiral, Charles Alexander, the late Donald Allen, Michael Anania, Bruce Andrews, Norman Austin, Todd Baron, Dawn Michelle Baude, Tosh Berman, Charles Bern- stein, Robert Bertholf, the late Robin Blaser, Richard Blevins, George Bower- ing, the late Stan Brakhage, the late David Bromige, the late James Brough- ton, the late Norman O. -
Jukebox Decades – 100 Hits Ultimate Soul
JUKEBOX DECADES – 100 HITS ULTIMATE SOUL Disc One - Title Artist Disc Two - Title Artist 01 Ain’t No Sunshine Bill Withers 01 Be My Baby The Ronettes 02 How ‘Bout Us Champaign 02 Captain Of Your Ship Reparata 03 Sexual Healing Marvin Gaye 03 Band Of Gold Freda Payne 04 Me & Mrs. Jones Billy Paul 04 Midnight Train To Georgia Gladys Knight 05 If You Don’t Know Me Harold Melvin 05 Piece of My Heart Erma Franklin 06 Turn Off The Lights Teddy Pendergrass 06 Woman In Love The Three Degrees 07 A Little Bit Of Something Little Richard 07 I Need Your Love So Desperately Peaches 08 Tears On My Pillow Johnny Nash 08 I’ll Never Love This Way Again D Warwick 09 Cause You’re Mine Vibrations 09 Do What You Gotta Do Nina Simone 10 So Amazing Luther Vandross 10 Mockingbird Aretha Franklin 11 You’re More Than A Number The Drifters 11 That’s What Friends Are For D Williams 12 Hold Back The Night The Tramps 12 All My Lovin’ Cheryl Lynn 13 Let Love Come Between Us James 13 From His Woman To You Barbara Mason 14 After The Love Has Gone Earth Wind & Fire 14 Personally Jackie Moore 15 Mind Blowing Decisions Heatwave 15 Every Night Phoebe Snow 16 Brandy The O’ Jays 16 Saturday Love Cherrelle 17 Just Be Good To Me The S.O.S Band 17 I Need You Pointer Sisters 18 Ready Or Not Here I The Delfonics 18 Are You Lonely For Me Freddie Scott 19 Home Is Where The Heart Is B Womack 19 People The Tymes 20 Birth The Peddlers 20 Don’t Walk Away General Johnson Disc Three - Title Artist Disc Four - Title Artist 01 Till Tomorrow Marvin Gaye 01 Lean On Me Bill Withers 02 Here -
ARTIST SONG 112 Cupid 112 Peaches and Cream a Taste of Honey Boogie Oogie, Oogie Aaliyah at Your Best Abba Dancing Queen After 7 Can't Stop Ah Ha Take on Me Al B
ARTIST SONG 112 Cupid 112 Peaches And cream A Taste Of Honey Boogie Oogie, Oogie Aaliyah At Your Best Abba Dancing Queen After 7 Can't Stop Ah Ha Take On Me Al B. Sure Nite And Day Al Green Here I Am (Come And Take Me) Al Green How Can You Mend A Broken Heart Al Green I'm Still In Love With You Al Green Let's Stay Together Al Green Tired Of Being Alone Al Jarreau After All Al Jarreau Morning Al Jarreau Were In This Love Together Al Wilson Show And Tell Alabama Mountain Music Alan Jackson Chattahoochie Alicia Bridges I Love The Night Life All-4-One I Swear Arrested Development Mr.Wendal Average White Band Cut The Cake B.J. Thomas Raindrops Keep Fallin On My Head B.J. Thomas Wont You Play Another Somebody….. Babyface Everytime I Close My Eyes Babyface For The Cool In You Babyface Never Keeping Secrets Babyface When Can I See You Babyface Whip Appeal Bachman-Turner Overdrive Takin Care Of Business Bachman-Turner Overdrive You A'int Seen Nothin Yet Backstreet Boys Everybody (Backstreets Back) Backstreet Boys Larger Than Life Barbra Streisand The Way We Were Bar-Kays, The Shake You Rump To The Funk Barry Manilow Copacabana Barry Manilow I Write The Songs Barry White Ectasy, When You Lay Next to Me Barry White Practice What You Preach Barry White Your The First, The Last, My Everything Beach Boys, The Surfin' USA Beatles, The A Day In The Life Beatles, The Come Togeter Beatles, The Do You Want to Know A Secret Beatles, The Eight Days a Week Beatles, The Nowhere Man Beatles, The The Long And Winding Road Beatles, The Twist And Shout Bee Gees, The How Deep Is Your Love Bee Gees, The How Deep Is Your Love Bee Gees, The Jive Talkin' Bee Gees, The Night Fever Bee Gees, The Stayin Alive Bee Gees, The Too Much Heaven Bee Gees, The Tragety Bee Gees, The You Should Be Dancin Bell Biv DeVoe Do Me Ben E. -
The Limits of Fabrication: Materials Science, Materialist Poetics
THE LIMITS OF FABRICATION THE LIMITS OF FABRICATION MATERIALS SCIENCE, MATERIALIST POETICS NATHAN BROWN Fordham University Press New York 2017 Copyright © 2017 Fordham University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Fordham University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet websites referred to in this publication and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Fordham University Press also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Visit us online at www.fordhampress.com. Library of Congress Cataloging-in-Publication Data available online at catalog.loc.gov. Printed in the United States of America 19 18 17 5 4 3 2 1 First edition A book in the American Literatures Initiative (ALI), a collaborative publishing project of NYU Press, Fordham University Press, Rutgers University Press, Temple University Press, and the University of Virginia Press. The Initiative is supported by The Andrew W. Mellon Foundation. For more information, please visit www.americanliteratures.org. for Cynthia Things, and present ones, are the absolute conditions. —Charles Olson, “Equal, That Is, to the Real Itself” (1958) Blt o by Bolt Every single P art is a crown to Anatom —Caroline Bergvall, Goan Atom (2001) Work nano, think cosmologic. -
Robert Creeley's Writing/Reading of Wallace Stevens
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Gleeson Library Faculty and Staff Research and Gleeson Library | Geschke Center Scholarship 2011 “A consistently useful measure”: Robert Creeley’s Writing/Reading of Wallace Stevens Patrick James Dunagan Follow this and additional works at: https://repository.usfca.edu/librarian Part of the Poetry Commons Fulcrum 7 (2011) “A consistently useful measure”1: Robert Creeley’s Writing/Reading of Wallace Stevens Patrick James Dunagan While William Carlos Williams is the immediate literary predecessor often associated with having early influence on the work of Robert Creeley, Wallace Stevens, beginning in Creeley’s first letters in the early 1950s to the poet Charles Olson, and re-emerging in his later work, makes several appearances in the printed record. References to Stevens culminate in the final section of Creeley’s long poem “Histoire de Florida,” published in 1996, the beginning of the last decade of his life, where lines from Stevens’ “Anecdote of the Jar” (a poem which, as will be shown, remained central to Creeley throughout his life) are quoted alternating with Creeley’s own. Although, as Creeley admits, “much of [his] own initial writing, both prose and poetry, used Stevens as a model” (“The the” 121), the earliest direct reference in poetry does not appear until decades later with his poem “For John Duff” out of his collection Later published in 1979, which summons from the very same Stevens poem the line “I placed a jar in Tennessee. .” as an initiating stance (Collected 169). These references to Stevens in Creeley’s work expand and reflect on Creeley’s belief that, as he put it, “Stevens, in Williams’ phrase, thought with his poem” (“In Respect” 50). -
DJ Song List by Song
A Case of You Joni Mitchell A Country Boy Can Survive Hank Williams, Jr. A Dios le Pido Juanes A Little Bit Me, a Little Bit You The Monkees A Little Party Never Killed Nobody (All We Got) Fergie, Q-Tip & GoonRock A Love Bizarre Sheila E. A Picture of Me (Without You) George Jones A Taste of Honey Herb Alpert & The Tijuana Brass A Ti Lo Que Te Duele La Senorita Dayana A Walk In the Forest Brian Crain A*s Like That Eminem A.M. Radio Everclear Aaron's Party (Come Get It) Aaron Carter ABC Jackson 5 Abilene George Hamilton IV About A Girl Nirvana About Last Night Vitamin C About Us Brook Hogan Abracadabra Steve Miller Band Abracadabra Sugar Ray Abraham, Martin and John Dillon Abriendo Caminos Diego Torres Absolutely (Story Of A Girl) Nine Days Absolutely Not Deborah Cox Absynthe The Gits Accept My Sacrifice Suicidal Tendencies Accidentally In Love Counting Crows Ace In The Hole George Strait Ace Of Hearts Alan Jackson Achilles Last Stand Led Zeppelin Achy Breaky Heart Billy Ray Cyrus Across The Lines Tracy Chapman Across the Universe The Beatles Across the Universe Fiona Apple Action [12" Version] Orange Krush Adams Family Theme The Hit Crew Adam's Song Blink-182 Add It Up Violent Femmes Addicted Ace Young Addicted Kelly Clarkson Addicted Saving Abel Addicted Simple Plan Addicted Sisqó Addicted (Sultan & Ned Shepard Remix) [feat. Hadley] Serge Devant Addicted To Love Robert Palmer Addicted To You Avicii Adhesive Stone Temple Pilots Adia Sarah McLachlan Adíos Muchachos New 101 Strings Orchestra Adore Prince Adore You Miley Cyrus Adorn Miguel -
Spatial Poetics, Proprioception and Caring for Country in Charles Olson’S the Maximus Poems
Spatial Poetics, Proprioception and Caring for Country in Charles Olson’s The Maximus Poems by Nathanael Finbar Pree 27th June, 2017 A dissertation submitted in fulfilment of the requirements for the degree of Doctor of Philosophy at the University of Sydney, Faculty of Arts and Social Sciences © 2017 Nathanael Finbar Pree All Rights Reserved Statement of Authorship and Originality I certify that this thesis has been written by me, and reserve my rights as the author of this work. I certify that all sources of information and assistance used in the research for and writing of this thesis have been properly acknowledged. I certify that the work in this thesis has not been previously submitted, whole or in part, for the requirements of any other degree. Nathanael Finbar Pree 27th June 2017 ii Spatial Poetics, Proprioception and Caring for Country in Charles Olson’s The Maximus Poems Abstract This thesis looks at the significance of space and place within Charles Olson’s poetics of the archaic postmodern, as a means of clearing a field within which a poetics of custodianship is enunciated. It applies and extends the concept of “nomadology”, formulated by Gilles Deleuze and Felix Guattari, to argue that Olson’s protagonist in The Maximus Poems can be seen as an exemplification of Pierre Joris’ concept of “a nomad poetics”. Olson’s triad of “topos, typos and tropos” helps structure the thesis and provides a means to approach and explain the Maximus gestalt as human geography: an organic entity arising from and embodying space in order to redefine place. -
I Hear a Symphony
1 I Hear a Symphony BLACK MASCULINITY AND THE DISCO TURN You should see this whole Roxy Music thing. It’s so elegant and cool and -fashionable. —Nile Rodgers to Bernard Edwards, cofounders of -Chic isco snuck up on America like a covert operation. This wasn’t how it had been in the sixties, when shifts in popular music—the arrival of the mop-headed British Invasion bands, Bob Dylan’s galvanizing electric turn, the emergence of Dpsychedelic rock—were unmissable cultural events immediately accorded the status of milestones. The rock “ revolution” of the sixties, like the Vietnam War and the protests it provoked, was the object of intense media coverage. Newsweek, Life, Time, and all the rest pounced on the story with prairie-fire speed. In a blink, whole new publications, including that soon-to-be arbiter of countercultural taste, Rolling Stone, emerged to chronicle the music, personalities, and culture of rock. The major labels may have been bewildered by the scruffiness, long hair, and druggy vibe of groups such as Big Brother and the Holding Company and the Grateful Dead, but they barely paused before racing to sign them up, even when they were little known outside of San Francisco’s hippie enclave, Haight--Ashbury. Six years later, when another musical revolution was taking shape, record companies opened neither their arms nor their coffers, with the result that disco developed slowly and at first largely off the official map. By the time Vince Aletti wrote about what he called “party music” and “discotheque rock,” in a fall 1973 issue of Rolling Stone, gay men had been dancing in discos for three years. -
Charles Olson, Robert Creeley, Cole Swensen
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2016 Poems to the Sea and Painterly Poetics: Charles Olson, Robert Creeley, Cole Swensen Gillies, Peter http://hdl.handle.net/10026.1/5225 Plymouth University All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Chapter One: CHARLES OLSON 1. Introduction 2. The Convergence of Projective Verse and Abstract Expressionism 3. Rhythm is Image: Charles Olson and Jackson Pollock 4. Figure and Field: Olson’s Maximus and Pollock’s Autumn Rhythm 5. Source in the Act: Olson and Robert Motherwell 6. Ancient and Modern Archaeology in Olson and Cy Twombly 7. A Thinking Dancer: Olson’s ‘Tyrian Businesses’ 8. Painterly Process: Joseph Fiore, Willem de Kooning and Olson’s ‘LETTER 9’ 126 1. Introduction On at least four separate recorded occasions, while reflecting on his period of tenure at Black Mountain College, Charles Olson referred to the significance of Abstract Expressionist painting. Describing the writer Herman Melville who ‘as an American was a first practicer’ making ‘the first art of space’, Olson writes in Chicago Review that: He [Melville] was already aware of the complementarity of each of two pairs of how we know and present the real – image & object, action & subject – both of which have paid off so decisively since.