1997 Fall Program Guide
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C.A.R. Presskit
C.A.R. Presskit We could go the long way around and talk about German post- war music history such as “Krautrock” , “Kosmische” and “Jazz- Rock” and what these terms mean to us. But we could also just say: “Hello, we are C.A.R. from Cologne and we play music as we like it: A little bit acoustic, a little bit electronic; on a trip, but without a specific destination; intense but not brutal; spherical, but not arbitrary; excessive, yet precise. Does this help you? No? Then stay a while and listen!” http://thisiscar.de https://www.facebook.com/thisiscar/ https://thisiscar.bandcamp.com/releases Contact Kenn Hartwig +49 176 23567404 [email protected] C.A.R. @ G5A, Mumbai, 2017 This is C.A.R. C.A.R. was founded in 2011 by Johannes Klingebiel and Kenn Hartwig in Cologne, Germany. After an early period of artistic orientation they released “Beyond The Zero” (2014), the “Interlude EP” (2017), “Look Behind You” (2018) and „Befunde ab 1999“ (2020). Originally playing experimental jazz, the media recently labeled their music as Krautrock, Kosmische, Electronica and experimental Pop. Among the highlights of the band´s career were gigs and residencies such as Fusion Festival, Jazzfest Kolkata and Casa Banchel in Madrid. By invitation of the Goethe Institute C.A.R. went on a four week long tour playing concerts in Pakistan, Sri Lanka and India in 2017. In November 2018 they went to China to play four concerts, taking part in the Jazz Improvise Meeting Festival. In 2019, C.A.R. curated and hosted the concert series “C.A.R. -
Brief Description of the Northern Areas
he designation of geographical entities in this book, and the presentation of the material, do T not imply the expression of any opinion whatsoever on the part of IUCN concerning the legal status of any country, territory, or area, or of its authorities, or concerning the delimitation of its frontiers or boundaries. The views expressed in this publication do not necessarily reflect those of IUCN. Published by: IUCN Pakistan. Copyright: ©2003 Government of Pakistan, Northern Areas Administration and IUCN–The World Conservation Union. Reproduction of this publication for educational and other non-commercial purposes is authorised without prior permission from the copyright holders, providing the source is fully acknowledged. Reproduction of the publication for resale or for other commercial purposes is prohibited without prior written permission from the copyright holders. Citation: Government of Pakistan and IUCN, 2003. Northern Areas State of Environment and Development. IUCN Pakistan, Karachi. xlvii+301 pp. Compiled by: Scott Perkin Resource person: Hamid Sarfraz ISBN: 969-8141-60-X Cover & layout design: Creative Unit (Pvt.) Ltd. Cover photographs: Gilgit Colour Lab, Hamid Sarfraz, Khushal Habibi, Serendip and WWF-Pakistan. Printed by: Yaqeen Art Press Available from: IUCN–The World Conservation Union 1 Bath Island Road, Karachi Tel.: 92 21 - 5861540/41/42 Fax: 92 21 - 5861448, 5835760 Website: www.northernareas.gov.pk/nassd N O RT H E R N A R E A S State of Environment & Development Co n t e n t s Acronyms and Abbreviations vi Glossary -
Mightier Than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Ab O U T T H E Au T H O R S
THE BROOKING S PROJECT ON U.S. RELATION S WITH THE IS LA M IC WORLD June 2008 MIGHTIER THAN THE SWORD : Arts and Culture in the U.S.-Muslim World Relationship Cynthia P. Schneider Kristina Nelson at BROOKINGS With Research by Mohammed Yousri TA B LE OF CONTENT S Acknowledgements ......................................................................... v About the Authors . vii Methodology and Definitions .................................................................1 Executive Summary . 4 Introduction ..............................................................................7 Outline of Paper ...........................................................................9 Defining the Problem(s) ....................................................................10 Why Arts and Culture? . .13 The “Canaries in the Coal Mine” of Free Expression ...............................................14 Art Disturbs Authority . .16 Breaking Down Stereotypes, Humanizing the Other ...............................................17 Respect the Past, Earn Respect in the Present: Cultural History and Identity.............................18 The Power of Feeling and Seeing: The Impact of the Artistic Experience ................................20 Cultural Connections Between the United States and the Global Muslim Community Today: The Changing Landscape for Arts and Culture in the Muslim World ................................22 Missed Opportunities, Misplaced Priorities: U.S. Government and Arts and Culture in the Muslim World . .24 United States Nonprofit -
Copyright by Peter James Kvetko 2005
Copyright by Peter James Kvetko 2005 The Dissertation Committee for Peter James Kvetko certifies that this is the approved version of the following dissertation: Indipop: Producing Global Sounds and Local Meanings in Bombay Committee: Stephen Slawek, Supervisor ______________________________ Gerard Béhague ______________________________ Veit Erlmann ______________________________ Ward Keeler ______________________________ Herman Van Olphen Indipop: Producing Global Sounds and Local Meanings in Bombay by Peter James Kvetko, B.A.; M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment for the Degree of Doctor of Philosophy The University of Texas at Austin May 2005 To Harold Ashenfelter and Amul Desai Preface A crowded, red double-decker bus pulls into the depot and comes to a rest amidst swirling dust and smoke. Its passengers slowly alight and begin to disperse into the muggy evening air. I step down from the bus and look left and right, trying to get my bearings. This is only my second day in Bombay and my first to venture out of the old city center and into the Northern suburbs. I approach a small circle of bus drivers and ticket takers, all clad in loose-fitting brown shirts and pants. They point me in the direction of my destination, the JVPD grounds, and I join the ranks of people marching west along a dusty, narrowing road. Before long, we are met by a colorful procession of drummers and dancers honoring the goddess Durga through thundering music and vigorous dance. The procession is met with little more than a few indifferent glances by tired workers walking home after a long day and grueling commute. -
Victim-Naming in the Murder Mystery Tv Series Twin Peaks: a Corpus-Stylistic Study
NARRATIVES / AESTHETICS / CRITICISM VICTIM-NAMING IN THE MURDER MYSTERY TV SERIES TWIN PEAKS: A CORPUS-STYLISTIC STUDY. CARMEN GREGORI SIGNES Name Carmen Gregori Signes popular and proliferous, but no studies, to date, have Academic centre IULMA. Universitat de València used corpus-stylistics methodologies in the analysis of the E-mail address [email protected] pivotal character of the victim in the whole narrative. This paper applies said methodology in the hope of shedding KEYWORDS some light on the quantitative and qualitative relationship corpus-stylistics; crime; murder mystery series; Twin Peaks. between the participation roles of the characters, and the frequency and distribution of victim-naming choices in the dialogue of the first two seasons of the acclaimed ABSTRACT TV series Twin Peaks. The analysis proves that textual Corpus linguistics is advancing rapidly in the study of reference to the victim is a central genre-cohesive device a wide variety of genres but is still in its infancy in the which may serve as a waymark to guide the audience study of TV series, a genre consumed daily by millions throughout the many subplots of the series. of viewers. Murder mystery series are one of the most 33 SERIES VOLUME VI, Nº 2, WINTER 2020: 33-46 DOI https://doi.org/10.6092/issn.2421-454X/11218 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X DIALOGUES WITH TECHNOLOGY NARRATIVES / AESTHETICS / CRITICISM > CARMEN GREGORI SIGNES VICTIM-NAMING IN THE MURDER MYSTERY TV SERIES TWIN PEAKS: A CORPUS-STYLISTIC STUDY. 1. INTRODUCTION The present paper is an attempt to contribute to this line of research by exploring the linguistic choices for ‘victim-nam- For centuries, true and fictional crime have been a matter of ing’ (Tabbert 2015) that characters use to refer to the victim study in a wide array of disciplines both outside and within of murder, Laura Palmer, in a corpus that contains the dia- criminology (e.g., psychology, economics, biology, medicine, logues of the first two seasons of the MMS Twin Peaks. -
Punk Islam and Selected Works of Michael Muhammad Knight
Arabian Knights: Punk Islam and Selected Works of Michael Muhammad Knight by Kurosh Amoui Kalareh M.A., The University of British Columbia, 2013 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIRMENTS FOR THE DEGREE OF MASTER OF ARTS in THE COLLEGE OF GRADUATE STUDIES (Critical Studies) (Interdisciplinary Graduate Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Okanagan) August 2013 © Kurosh Amoui Kalareh, 2013 Abstract This thesis is an analysis of Michael Muhammad Knight’s works with a particular focus on The Taqwacores, Blue-Eyed Devil, Osama Van Halen, Impossible Man, William S. Burroughs vs. the Quran, and Tripping with Allah. It differs from earlier critical writing on Knight by taking a Bakhtinian approach to his ground-breaking first novel The Taqwacores and its attempt to open a dialogue on reforming American Islam, focusing on Knight’s relationship to the Beats and their often overlooked Islamic discourses as his ideal model for this artistic/social reform, and tracing a shift in his work from reformist, documentary fiction to self-focused, “cool” autobiography. It argues that what enables Knight to initiate a punk reading of Islam, to cut-up the Quran, and to prescribe ayahuasca (a psychoactive vine native to Amazonian Peru) to pilgrims going to Mecca is his interpretation of the famous statement attributed to Hassan Sabbah: “Nothing is true; everything is permitted.” Meanwhile, Knight’s approach differs from that of many writers from Rabelais and Dostoyevsky to Nietzsche and Burroughs who have cited or paraphrased this statement. While these writers describe how devastating it would be to live in a godless world where everything is permitted with no hereafter, Knight stresses a vague “coolness” in Sabbah’s statement which he uses to guide his own style of living. -
Bollywood Sounds
Bollywood Sounds Bollywood Sounds The Cosmopolitan Mediations of Hindi Film Song Jayson Beaster-Jones 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trademark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Oxford University Press 2015 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, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Beaster-Jones, Jayson. Bollywood sounds : the cosmopolitan mediations of Hindi film song / Jayson Beaster-Jones. pages cm Includes bibliographical references and index. ISBN 978–0–19–986254–2 (pbk. -
How Twin Peaks Changed the Face of Contemporary Television
“That Show You Like Might Be Coming Back in Style” 44 DOI: 10.1515/abcsj-2015-0003 “That Show You Like Might Be Coming Back in Style”: How Twin Peaks Changed the Face of Contemporary Television RALUCA MOLDOVAN Babeş-Bolyai University, Cluj-Napoca Abstract The present study revisits one of American television’s most famous and influential shows, Twin Peaks, which ran on ABC between 1990 and 1991. Its unique visual style, its haunting music, the idiosyncratic characters and the mix of mythical and supernatural elements made it the most talked-about TV series of the 1990s and generated numerous parodies and imitations. Twin Peaks was the brainchild of America’s probably least mainstream director, David Lynch, and Mark Frost, who was known to television audiences as one of the scriptwriters of the highly popular detective series Hill Street Blues. When Twin Peaks ended in 1991, the show’s severely diminished audience were left with one of most puzzling cliffhangers ever seen on television, but the announcement made by Lynch and Frost in October 2014, that the show would return with nine fresh episodes premiering on Showtime in 2016, quickly went viral and revived interest in Twin Peaks’ distinctive world. In what follows, I intend to discuss the reasons why Twin Peaks was considered a highly original work, well ahead of its time, and how much the show was indebted to the legacy of classic American film noir; finally, I advance a few speculations about the possible plotlines the series might explore upon its return to the small screen. Keywords: Twin Peaks, television series, film noir, David Lynch Introduction: the Lynchian universe In October 2014, director David Lynch and scriptwriter Mark Frost announced that Twin Peaks, the cult TV series they had created in 1990, would be returning to primetime television for a limited nine episode run 45 “That Show You Like Might Be Coming Back in Style” broadcast by the cable channel Showtime in 2016. -
Amanda Palmer and the #LOFNOTC: How Online Fan Participation Is Rewriting Music Labels
. Volume 9, Issue 2 November 2012 Amanda Palmer and the #LOFNOTC: How online fan participation is rewriting music labels Liza Potts, Michigan State University, USA Summary Recent events in digital culture are changing the ways in which artists and fans are able to interact. By resisting traditional labels as a musician and performer, Amanda Palmer has set out to redefine the ways in which artists and their audiences connect. Through her early work as a street performer, Palmer understood the need for a bond between artist and audience. With an ability to embrace participatory culture, in her live performances, blog, and Twitter stream, Palmer’s actions are unconventional and often provocative. In this article, I trace these interactions, arguing that Palmer and her participatory fans are rewriting traditional norms about recording artists and their audiences. Keywords: Participation, fans, music, recording industry, social media, Amanda Palmer, Neil Gaiman. Introduction In her 2010 blog post entitled ‘Why I am Not Afraid to Take Your Money,’ musician Amanda Palmer called for a radical move away from traditional recording industry strategies for production and distribution. In Palmer’s manifesto, she describes how artists will be bypassing their labels and going to their audience: ‘coming straight to you (yes, YOU, you who want their music, their films, their books) for their paychecks’ (2010). Rather than keeping them at arm’s length, Palmer works to include her fans in her work. Her fans have embraced this role, communicating with her through various online channels and participating in her work. Palmer’s recent success in raising over $1M on Kickstarter (Palmer, 2012a) is just one indication of how her fans are helping her reinvent funding models for artists. -
Twin Peaks at Twenty-Five
IN FOCUS: Returning to the Red Room—Twin Peaks at Twenty-Five Foreword by DAVID LAVERY or Twin Peaks (ABC, 1990–1991), 2015 was a damn fine year. The last annum has seen the completion of a new collection of critical essays ( Jeffrey Weinstock and Catherine Spooner’s Return to “Twin Peaks”: New Approaches to Theory & Genre in Television), an international conference in the United Kingdom (“ ‛I’ll See You Again Fin 25 Years’: The Return of Twin Peaks and Generations of Cult TV” at the University of Salford), and the current In Focus.1 Not coincidently, this has transpired alongside the commissioning of the return of the series on the American premium cable channel Showtime for a 2017 debut. Long before this Twin Peaks renaissance, the place of David Lynch and Mark Frost’s “quirky quality” series in TV history was, however, already secure.2 As the creator of the iconic series Mad Men, Matthew Weiner, now fifty years old, put it definitively: “I was already out of college when Twin Peaks came on, and that was where I became aware of what was possible on television.”3 Twin Peaks has played a central role as well in our understanding of what is possible in television studies. As I have written and spoken about elsewhere, the collection Full of Secrets: Critical Approaches to “Twin 1 See Jeffrey Weinstock and Catherine Spooner, eds., Return to “Twin Peaks”: New Approaches to Materiality, Theory, and Genre on Television (Basingstoke, UK: Palgrave Macmillan, 2015). For a review of the conference, see Ross Garner, “Conference Review: “‘I’ll See You Again in 25 Years’: The Return of Twin Peaks and Generations of Cult TV”: University of Salford, 21–22 May 2015,” Critical Studies in Television Online, June 5, 2015, http://cstonline.tv/twin-peaks. -
Twin Peaks Is Still Majestically Creepy - the Globe and Mail 2016-12-10, 11 15 AM a Visit to the World of Twin Peaks Is Still Majestically Creepy Monday, Apr
A visit to the world of Twin Peaks is still majestically creepy - The Globe and Mail 2016-12-10, 1115 AM A visit to the world of Twin Peaks is still majestically creepy Monday, Apr. 25, 2016 11:57AM EDT Seattle was the capital of the 1990s. A relatively small, out-of-the-way city, it managed to provide some of the most powerful cultural images of the decade: the Starbucks sophistication of Frasier Crane, the heartbreak houseboat of Sleepless in Seattle and – most unforgettable for people my age – the dirty, long hair, flannel and thrift-store sweaters of grunge. Today, as the children of the 1990s grow into the yuppies of the 2010s, Seattle is fast becoming the first city of nineties nostalgia. With some travel cash and vacation days to spare, thirtysomethings such as myself can’t resist the Pacific http://www.theglobeandmail.com/life/travel/destinations/the-majestically-creepy-towns-at-the-heart-of-twinpeaks/article29660457/ Page 1 of 9 A visit to the world of Twin Peaks is still majestically creepy - The Globe and Mail 2016-12-10, 1115 AM Northwest’s promise of recapturing a slice of our youth. The era of Kurt Cobain cruises and Pearl Jam pilgrimages is upon us. Most such trips, alas, are doomed to end in disappointment. The combined force of the twin tech booms of Microsoft and Amazon have turned greater Seattle into one of the fastest-growing regions in the United States. Rapid sprawl and lightning-fast gentrification have mostly wiped 1990s Seattle off the map. Yesterday’s ragged rock club has become today’s Whole Foods. -
Krautrock and the West German Counterculture
“Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre.