Blank Generation (1980) | Review | Smells Like Screen Spirit
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Press Release
LOOKING AT MUSIC: SIDE 2 EXPLORES THE CREATIVE EXCHANGE BETWEEN MUSICIANS AND ARTISTS IN NEW YORK CITY IN THE 1970s AND 1980s Photography, Music, Video, and Publications on Display, Including the Work of Jean-Michel Basquiat, Blondie, Richard Hell, Sonic Youth, and Patti Smith, Among Others Looking at Music: Side 2 June 10—November 30, 2009 The Yoshiko and Akio Morita Gallery, second floor Looking at Music: Side 2 Film Series September—November 2009 The Roy and Niuta Titus Theaters NEW YORK, June 5, 2009—The Museum of Modern Art presents Looking at Music: Side 2, a survey of over 120 photographs, music videos, drawings, audio recordings, publications, Super 8 films, and ephemera that look at New York City from the early 1970s to the early 1980s when the city became a haven for young renegade artists who often doubled as musicians and poets. Art and music cross-fertilized with a vengeance following a stripped-down, hard-edged, anti- establishment ethos, with some artists plastering city walls with self-designed posters or spray painted monikers, while others commandeered abandoned buildings, turning vacant garages into makeshift theaters for Super 8 film screenings and raucous performances. Many artists found the experimental music scene more vital and conducive to their contrarian ideas than the handful of contemporary art galleries in the city. Artists in turn formed bands, performed in clubs and non- profit art galleries, and self-published their own records and zines while using public access cable channels as a venue for media experiments and cultural debates. Looking at Music: Side 2 is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art, and succeeds Looking at Music (2008), an examination of the interaction between artists and musicians of the 1960s and early 1970s. -
Course Syllabus
Professor Louie Dean Valencia English 1102, R15 [email protected] Office Hours: @BurntCitrus on Twitter Dealy Hall 627 |Mon, 11am-12noon NotebooksForDialogue.org Rodrigues|Thurs, 1pm-2:00pm PaintingBohemia.org Class Location: FMH 308, 2:30pm Course Objectives: This is an intensive course in expository writing that aims to teach you to write effectively by using correct grammar, sound logic, and persuasive rhetoric. Though we will read and discuss writing by a variety of authors, your own writing will be the primary focus in this class. Through your writing, revision, reading, and class discussion, you will analyze the relationship between writing and thinking. To aid you in this endeavor, this course will introduce you to various research techniques, including the use of the library, the conventions and principles of documentation, the art of synthesis, and the analysis of sources. You are expected to participate actively in class, revise your work, and critique the work of your fellow students. You will receive individual guidance in discovering for yourself the ways in which our writing affects our thinking, and our thinking our writing. With the primary focus of the course being bettering students’ rhetorical and logical skills, the class will focus on bohemian and youth cultures in modernity, debating issues of gender, race, class, nationalism, consumer culture and technology. In addition to the required texts, supplementary texts will include essays, primary sources, films and scholarly articles. This course demands self-motivation, dedicated reading, critical writing, and class participation. Note: Changes may be made to this syllabus during the course of the semester. -
1 Ervin Jarek 2017 PHD.Pdf
ii © Copyright by Jarek Paul Ervin All Rights Reserved May 2017 iii ABSTRACT My dissertation takes a speculative cue from the reception of 1970s New York punk, which is typically treated as both rule – the symbolic site of origin – and exception – a protean moment before the crystallization of punk proper. For this reason, artists such as Velvet Underground, Patti Smith, the Ramones, and Blondie are today afforded the simultaneous status of originators, interlopers, innovators, and successors. This has led both to the genre’s canonicity in the music world and its general neglect within scholarship. I argue that punk ought to be understood less as a set of stylistic precepts (ones that could be originated and then developed), than as a set of philosophical claims about the character of rock music in the 1970s. Punk artists such as Patti Smith, Jayne County, and the Ramones developed an aesthetic theory through sound. This was an act of accounting, which foregrounded the role of historical memory and recast a mode of reflexive imagination as musical practice. At times mournful, at times optimistic about the possibility of reconciliation, punk was a restorative aesthetics, an attempt to forge a new path on memories of rock’s past. My first chapter looks at the relationship between early punk and rock music, its ostensible music parent. Through close readings of writing by important punk critics including Greil Marcus, Lester Bangs, and Ellen Willis – as well as analyses of songs by the Velvet Underground and Suicide – I argue that a historical materialist approach offers a new in-road to old debates about punk’s progressive/regressive musical character. -
Le Cinéma Remoderniste Histoire Et Théorie D'une Esthétique Contemporaine
UNIVERSITÉ SORBONNE NOUVELLE – PARIS III Mémoire final de Master 2 Mention : Études cinématographiques et audiovisuelles Spécialité : Recherche Titre : LE CINÉMA REMODERNISTE HISTOIRE ET THÉORIE D'UNE ESTHÉTIQUE CONTEMPORAINE Auteur : Florian MARICOURT n° 21207254 Mémoire final dirigé par Nicole BRENEZ Soutenu à la session de juin 2014 LE CINÉMA REMODERNISTE HISTOIRE ET THÉORIE D'UNE ESTHÉTIQUE CONTEMPORAINE Florian Maricourt Illustration de couverture : Photogramme extrait de Notre espoir est inconsolable (Florian Maricourt, 2013) Une chanson que braille une fille en brossant l'escalier me bouleverse plus qu'une savante cantate. Chacun son goût. J'aime le peu. J'aime aussi l'embryonnaire, le mal façonné, l'imparfait, le mêlé. J'aime mieux les diamants bruts, dans leur gangue. Et avec crapauds. Jean Dubuffet Prospectus et tous écrits suivants, 1951 En ces temps d'énormité, de films à grand spectacle, de productions à cent millions de dollars, je veux prendre la parole en faveur du petit, des actes invisibles de l’esprit humain, si subtils, si petits qu’ils meurent dès qu’on les place sous les sunlights. Je veux célébrer les petites formes cinématographiques, les formes lyriques, les poèmes, les aquarelles, les études, les esquisses, les cartes postales, les arabesques, les triolets, les bagatelles et les petits chants en 8mm. Jonas Mekas Manifeste contre le centenaire du cinéma, 1996 i am a desperate man who will not bow down to acolayed or success i am a desperate man who loves the simplisity of painting and hates gallarys and white walls and the dealers in art who loves unreasonableness and hot headedness who loves contradiction hates publishing houses and also i am vincent van gough Billy Childish I am the Strange Hero of Hunger, 2005 Je tiens à remercier chaleureusement les cinéastes remodernistes qui ont aimablement répondu à mes questions, en particulier Scott Barley, Heidi Elise Beaver, Dean Kavanagh, Rouzbeh Rashidi, Roy Rezaäli, Jesse Richards et Peter Rinaldi. -
Rip “Her” to Shreds
Rip “Her” To Shreds: How the Women of 1970s New York Punk Defied Gender Norms Rebecca Willa Davis Senior Thesis in American Studies Barnard College, Columbia University Thesis Advisor: Karine Walther April 18, 2007 Contents Introduction 2 Chapter One Patti Smith: Jesus Died For Somebody’s Sins But Not Mine 11 Chapter Two Deborah Harry: I Wanna Be a Platinum Blonde 21 Chapter Three Tina Weymouth: Seen and Not Seen 32 Conclusion 44 Bibliography 48 1 Introduction Nestled between the height of the second wave of feminism and the impending takeover of government by conservatives in 1980 stood a stretch of time in which Americans grappled with new choices and old stereotypes. It was here, in the mid-to-late 1970s, that punk was born. 1 Starting in New York—a city on the verge of bankruptcy—and spreading to Los Angeles and London, women took to the stage, picking punk as their Trojan Horse for entry into the boy bastion of rock’n’roll. 2 It wasn’t just the music that these women were looking to change, but also traditionally held notions of gender as well. This thesis focuses on Patti Smith, Deborah Harry, and Tina Weymouth—arguably the first, and most important, female punk musicians—to demonstrate that women in punk used multiple methods to question, re-interpret, and reject gender. On the surface, punk appeared just as sexist as any other previous rock movement; men still controlled the stage, the sound room, the music journals and the record labels. As writer Carola Dibbell admitted in 1995, “I still have trouble figuring out how women ever won their place in this noise-loving, boy-loving, love-fearing, body-hating music, which at first glance looked like one more case where rock’s little problem, women, would be neutralized by male androgyny.” According to Dibbell, “Punk was the music of the obnoxious, permanently adolescent white boy—skinny, zitty, ugly, loud, stupid, fucked up.”3 Punk music was loud and aggressive, spawning the violent, almost exclusively-male mosh pit at live shows that still exists today. -
New York: No Wave Cinema
A DEFINING PERIOD IN THE HISTORY OF THE NEW YORK: RELATIONSHIP BETWEEN NO WAVE CINEMAFILM, ART AND MUSIC Cover image: Debbie Harry from The Blank Generation, [1976, 16mm], photo: Fernando Natalici. Courtesy of Amos Poe. This page: Unmade Beds, [1977, 16mm], photo: Fernando Natalici. Courtesy of Amos Poe. The Cast: Blondie (Debbie Harry, Chris Stein), Talking Heads, The Ramones, Television, Jean-Michel Basquiat, Glenn O’Brien, David McDermott, Patty Astor, James Nares, Eric Mitchell, Amos Poe, Keith Haring, Kenny Sharf, Julian Schnabel, Fab Five Freddy, King Kreole and the Coconuts, Arto Lindsay and DNA, James White and the Blacks, The Plastics, Duncan Hannah, Lydia Lunch, Klaus Nomi, George Clinton, Maripol, Danny Rosen, Patti Smith, Vivienne Dick, Ivan Kral, John Lurie, Jim Jarmusch, Tom DiCillo, Diego Cortez, Lee Quinones, Vincent Gallo, Steve Buscemi and many, many more… Clockwise, from top left: The Blank Generation, [1976, 16mm]. Debbie Harry from The Foreigner, [1978, 16mm]. The Foreigner, [1978, 16mm]. Photos: Fernando Natalici. Courtesy of Amos Poe. BACKGROUND From the mid 1970s to the early 1980s, New However, it was in 1975 when Amos Poe, an York City’s East Village was the home, studio Israeli-born photographer, and Ivan Kral, the and playground to an eclectic group of young guitarist with Patti Smith Group, set out to arrivals, hailing from all parts of America as well direct and produce a 16mm film on the punk as Europe. Although from disparate backgrounds, scene. The result was the cult classic, THE these newcomers shared similar interests and BLANK GENERATION. The film depicts seminal passions about music, art, film and performance. -
The Music of the Colorblind: How Integrated Music Was
THE MUSIC OF THE COLORBLIND: HOW INTEGRATED MUSIC WAS CREATED IN A REGION OF POLITICAL AND SOCIAL SEGREGATION by Damon A. Brooks A Thesis/Project Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Social Science In Teaching American History May, 2005 THE MUSIC OF THE COLORBLIND: HOW INTEGRATED MUSIC WAS CREATED IN A REGION OF POLITICAL AND SOCIAL SEGREGATION by Damon A. Brooks Approved by the Master’s Thesis Committee: Delores McBroome, Committee Chair Date Rod Sievers, Committee Member Date Gayle Olson, Committee Member Date Delores McBroome, Graduate Coordinator Date MASS – Teaching American History Donna E. Schafer, Dean for Research and Graduate Studies Date ABSTRACT The Music of the Colorblind: How Integrated Music was Created in a Region of Political and Social Segregation Damon A. Brooks The importance of Memphis, Tennessee in the history of popular American music cannot be overstated. If Memphis had produced just the Sun recordings of Elvis Presley in the fifties alone, its status as a city rich in musical tradition would be secure. But there is so much more music that came from Memphis: Johnny Cash, Carl Perkins, Howlin’ Wolf, Roy Orbison, Booker T. and the M.G.s, Otis Redding, Rufus and Carla Thomas, Isaac Hayes, Albert King, Sam and Dave, and Al Green to list just a few. Memphis helped shape almost all subsequent rock and roll. The synthesis of black and white musical styles that occurred there in the fifties was unique. The Stax recordings of sixties soul music and seventies funk continued Memphis’ history of mixing black and white music together. -
PUNK by Jon Savage I
PUNK By Jon Savage I: INTRO I’m a street-walking cheetah with a heartfull of napalm… It starts with a feeling. I’m the runaway son of the nuclear A-bomb…. A feeling so intense and so out there that it struggles to make itself heard. I am the world’s forgotten boy… These screams of rage fall on deaf ears in the woozy hedonism of the early seventies. The singer is: too dumb, too blank, too violent. A dose of Amphetamine among the Quaaludes. He cuts himself on stage, flings himself into the audience…. Sick boy, sick boy, learning to be cruel… ..trying to get a reaction, any reaction. Anything but this boredom. Anything but this stoner ooze that avoids the issue of what it is to be young, outcast, and ready to murder a world. Is there concrete all around or is it in my head? The bloom is off youth culture as the promises of the sixties fade. The charismatic dark stars of the early seventies, David Bowie, Alice Cooper, catch this mood but by mid decade they are too successful and too old - sixties people themselves – to embody this feeling. They can write as observers but they aren’t inside it. I’m getting tired of being alone…. The secret heart of pop culture shifts from the country to the inner city. This is a dark, dangerous world. It’s a jungle out there. WWW.TEACHROCK.ORG Somethin’ comin’ at me all the time…. But after sundown, when everyone has fled, there is space. The new breed find the feeling in the midst of emptiness. -
Hell Remembers Quine
RollingStone.com http://www.rollingstone.com/news/story?id=6128328&pageid=rs.Home&pageregion=&rnd=1... Hell Remembers Quine Head Voidoid talks about his fallen guitar player Quine and Hell in '76 "Part of being a guitar player -- ninety-nine percent of it -- is being obsessive enough to spend thousands of hours listening to records and practicing," Robert Quine told me in 2001. "I've always believed in immersing yourself in good music. Sooner or later, if you have any personality or musical intelligence of your own, you'll come up with your own thing." Quine -- who was found dead in his Manhattan home on June 5th, an apparent suicide at sixty-one -- was thrilling proof of his own theory. Beginning with his epochal solo on Richard Hell and the Voidoids' 1976 single "Blank Generation," Quine challenged the accepted low-brow standards of punk and garage-rock guitar, inventing a singular fusion of terrorism and tonality rooted in his lifelong loves of 1950s rockabilly, jazz and the Velvet Underground. He looked more like a pro bono lawyer than a guitar hero (Quine actually held a degree in law from Washington University in Missouri), and he only made two albums under his own name, both collaborations: 1981's Escape, with guitarist Jody Harris, and 1984's Basic, with ex-Material drummer Fred Maher. But with the Voidoids on the mighty 1977 Blank Generation album, as the second guitarist on Lou Reed's 1982 LP, The Blue Mask, and as a sideman on records by artists as varied as Tom Waits, Lydia Lunch, Scritti Politti, John Zorn, Lloyd Cole and Matthew Sweet, Quine elevated and transformed the songs of others with a pure fury and incisive melodicism. -
Xcèntric AMOS
Amos Poe :::::::::::::::::::::::::::::::::: 2a Part :::::::::::::::::::::::::::::: Cinema de presència Dijous 11 març, 20.30 h Poe va estar al rovell del que es feia musicalment parlant The Foreigner, 1977-1978, 90, 16 mm a Nova York a mitjan dels setanta. Si com a espectador Direcció i producció: Amos Poe. Guió: Amos Poe i cinematogràfic i director de pel·lícules sense pressupost Eric Mitchell. Fotografia: Chirine El Khadem (blanc i (modalitat, que segons diu, ha inventat ell) les seves negre). Música: Ivan Kral. Muntatge: Amos Poe, Xcèntric dèries i predileccions resultaven inestroncables, citant Johanna Heer i Michael Penland. Intèrprets: Eric Mitchell Kubrick, Sirk, Wilder, Buñuel, Welles, Mizoguchi, Breson, (Max Menace), Patti Astor (Fili Harlow), Deborah Harry INDEPENDENTS ENTRE GRATACELS Spielberg, Scorsese, Lucas, Antonioni, Truffaut i, molt (Dee Trick), Anya Philips (Doll), Terens Severine (Zazu especialment, Godard, Warhol i Cassavetes com a Weather), Duncan Hannah (Shake), Kalus Mettig influències directes, en matèria musical no va tardar gaire (lalemany), Chirine El Khadem (làrab). a associar-se a tots els grups que van convertir Nova York en lepicentre musical de lèpoca, els Ramones, Declaracions dAmos Poe: Heartbreakers, Television, Blondie, Richardl Hell and the Voidoids, Talking Heads i Patti Smith, entre daltres, la Entre el 1975 i el 1976, Ivan Kral i jo vam rodar Blank influència dels quals es fa palesa en bona part del rock Generation per 2.500 dòlars. Quan es va comprovar el actual de la ciutat dels gratacels. seu èxit, vaig decidir crear un nou moviment Poe va rodar Blank Generation com el que ell anomena cinematogràfic a lestil de la nouvelle vague francesa. -
Robert Quine- Interview with Jim Derogatis About Lester Bangs
Robert Quine- interview with Jim Derogatis about Lester Bangs http://www.furious.com/perfect/quine/quinederogatis.html ROBERT QUINE: SUCH A LOVABLE GENIUS By Jim DeRogatis Bob Quine was really weird about the phone. When I set out to write my biography of Lester Bangs, Quine was one of the subjects I was most eager to interview. I was a major fan, and by all accounts, he had been one of Lester's best friends. But tracking him down proved to be no easy task: Bob valued his privacy, and he prided himself on his inaccessibility. I finally got his number from someone who'd worked with him during the recording of Matthew Sweet's Girlfriend. The studio insider was reluctant to give me the contact info--"If Quine finds out, he'll never talk to me again!"--and he only did it on the condition that I'd swear I'd tell Bob I got the number from the musicians' union. (A tip for aspiring journalists: Any musician who wants to work in the big-time New York studios has to be registered with the union; you can simply call them up and say you want to hire the player, and you can usually get a contact.) I rang Quine and introduced myself and my project. "Where the hell did you get this number?" he snapped. He didn't 1 of 16 10/8/2005 8:17 AM Robert Quine- interview with Jim Derogatis about Lester Bangs http://www.furious.com/perfect/quine/quinederogatis.html seem placated when I told him I'd called the musicians' union. -
Historie Newyorské Punkové Scény
FILOZOFICKÁ FAKULTA Historie newyorské punkové scény Bakalářská diplomová práce JAKUB STRAKA Vedoucí práce: PhDr. Aleš Opekar, CSc. Ústav hudební vědy Obor Sdružená uměnovědná studia Brno 2021 HISTORIE NEWYORSKÉ PUNKOVÉ SCÉNY Bibliografický záznam Autor: Jakub Straka Filozofická fakulta Masarykova univerzita Ústav hudební vědy Název práce: Historie newyorské punkové scény Studijní program: Obecná teorie a dějiny umění a kultury Studijní obor: Sdružená uměnovědná studia Vedoucí práce: PhDr. Aleš Opekar, CSc. Rok: 2021 Počet stran: 143 Klíčová slova: New York, punk, rock, subkultura, CBGB 2 HISTORIE NEWYORSKÉ PUNKOVÉ SCÉNY Bibliographic record Author: Jakub Straka Faculty of Arts Masaryk University Department of Musicology Title of Thesis: The History of New York Punk Scene Degree Programme: General Theory and History of Arts and Culture Field of Study: Combined Art Studies Supervisor: PhDr. Aleš Opekar, CSc. Year: 2021 Number of Pages: 143 Keywords: New York, punk, rock, subculture, CBGB 3 HISTORIE NEWYORSKÉ PUNKOVÉ SCÉNY Anotace Bakalářská diplomová práce Historie newyorské punkové scény pojednává o vzniku a vývoji rockového subžánru na území města New Yorku; reflektuje fenomén punku jako věc kulturního a společenského významu i z hlediska jeho nepopiratelného historic- kého přínosu. Nedílnou součástí tohoto textu je historie jednotlivých hudebních sku- pin, rozkrývání dobového pozadí celé hudební scény v kontextu dějin druhé poloviny 20. století a analýza konkrétních vlivů a souvislostí. Mimo to čtenáři nabízí stručnou komparaci newyorského a britského punku. 4 HISTORIE NEWYORSKÉ PUNKOVÉ SCÉNY Abstract The bachelor's diploma thesis History of the New York Punk Scene discusses the emer- gence and development of the rock subgenre in the New York City; it reflects on the phenomenon of punk as a matter of cultural and social significance and in terms of its undeniable historical contribution.