2019 Media Kit
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Scribbles California Writers Club — Central Coast Writers Branch Centralcoastwriters.Org May 2016
Scribbles California Writers Club — Central Coast Writers Branch centralcoastwriters.org May 2016 May 17 Speaker Sylvie Simmons Writing a Comprehensive Biography Sylvie Simmons, author of I’m Your Man: The Life of Leonard Cohen will speak about writing a definitive biography without losing your emotional distance, your livelihood or your mind. She will talk about research, interviews, immersing yourself in another person’s life, what to reveal, what not to reveal, how to gain your subject’s trust...and how being passionate about a dream can lead to an extraordinary life. SYLVIE SIMMONS is a Londonborn U.S.based music journalist and author. A widely regarded writer and rock historian since the late 1970s, she is one of very few women included among the predominantly male rock elite. She has interviewed artists from Mick Jagger to Michael Jackson. The Leonard Cohen book was named best biography of the year (2012) by NPR’s “All Things Considered.” She is also a singersongwriter and ukulele player signed to Light in the Attic Records. Coming on June 21 Michael David Lukas — WHAT’S INSIDE Revision and Inspiration MICHAEL DAVID LUKAS has been a Fulbright Scholar in Turkey, Announcements 46 a nightshift proofreader in Tel Aviv, and a waiter at the Bread CCW President’s Letter 2 Loaf Writers’ Conference in Vermont. Translated into more than a dozen languages, his first novel The Oracle of Stamboul Contests and Conferences 9 was a finalist for the California Book Award, the NCIBA Book of the Year Award, and the Harold U. Ribalow Prize. -
P E R F O R M I N G
PERFORMING & Entertainment 2019 BOOK CATALOG Including Rowman & Littlefield and Imprints of Globe Pequot CONTENTS Performing Arts & Entertainment Catalog 2019 FILM & THEATER 1 1 Featured Titles 13 Biography 28 Reference 52 Drama 76 History & Criticism 82 General MUSIC 92 92 Featured Titles 106 Biography 124 History & Criticism 132 General 174 Order Form How to Order (Inside Back Cover) Film and Theater / FEATURED TITLES FORTHCOMING ACTION ACTION A Primer on Playing Action for Actors By Hugh O’Gorman ACTION ACTION Acting Is Action addresses one of the essential components of acting, Playing Action. The book is divided into two parts: A Primer on Playing Action for Actors “Context” and “Practice.” The Context section provides a thorough examination of the theory behind the core elements of Playing Action. The Practice section provides a step-by-step rehearsal guide for actors to integrate Playing Action into their By Hugh O’Gorman preparation process. Acting Is Action is a place to begin for actors: a foundation, a ground plan for how to get started and how to build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of Playing Action, and it addresses a niche void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of the acting task. March, 2020 • Art/Performance • 184 pages • 6 x 9 • CQ: TK • 978-1-4950-9749-2 • $24.95 • Paper APPLAUSE NEW BOLLYWOOD FAQ All That’s Left to Know About the Greatest Film Story Never Told By Piyush Roy Bollywood FAQ provides a thrilling, entertaining, and intellectually stimulating joy ride into the vibrant, colorful, and multi- emotional universe of the world’s most prolific (over 30 000 film titles) and most-watched film industry (at 3 billion-plus ticket sales). -
Never Mind the Sex Pistols, Here╎s CBGB the Role of Locality and DIY
Vassar College Digital Window @ Vassar Senior Capstone Projects 2020 Never mind the sex pistols, here’s CBGB the role of locality and DIY media in forming the New York punk scene Ariana Bowe Vassar College Follow this and additional works at: https://digitalwindow.vassar.edu/senior_capstone Recommended Citation Bowe, Ariana, "Never mind the sex pistols, here’s CBGB the role of locality and DIY media in forming the New York punk scene" (2020). Senior Capstone Projects. 1052. https://digitalwindow.vassar.edu/senior_capstone/1052 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Bowe 1 Vassar College Never Mind The Sex Pistols, Here’s CBGB The Role of Locality and DIY Media in Forming the New York Punk Scene A thesis submitted in partial satisfaction of the requirements for the degree Bachelor of Arts in Media Studies. By Ariana Bowe Thesis Advisers: Professor Justin Patch May 2020 Bowe 2 Project Statement In my project, I will explore the New York City venue CBGB as one of the catalysts behind the rise of punk subculture in the 1970s. In a broader sense, I argue that punk is defined by a specific local space that facilitated a network of people (the subculture’s community), the concepts of DIY and bricolage, and zines. Within New York City, the locality of the punk subculture, ideas and materials were communicated via a DIY micro-medium called zines. -
Jews, Punk and the Holocaust: from the Velvet Underground to the Ramones – the Jewish-American Story
Popular Music (2005) Volume 24/1. Copyright © 2005 Cambridge University Press, pp. 79–105 DOI:10.1017/S0261143004000315 Printed in the United Kingdom Jews, punk and the Holocaust: from the Velvet Underground to the Ramones – the Jewish-American story JON STRATTON Abstract Punk is usually thought of as a radical reaction to local circumstances. This article argues that, while this may be the case, punk’s celebration of nihilism should also be understood as an expression of the acknowledgement of the cultural trauma that was, in the late 1970s, becoming known as the Holocaust. This article identifies the disproportionate number of Jews who helped in the development of the American punk phenomenon through the late 1960s and 1970s. However, the effects of the impact of the cultural trauma of the Holocaust were not confined to Jews. The shock that apparently civilised Europeans could engage in genocidal acts against groups of people wholly or partially thought of by most Europeans as European undermined the certainties of post-Enlightenment modernity and contributed fundamentally to the sense of unsettlement of morals and ethics which characterises the experience of postmodernity. Punk marks a critical cultural moment in that transformation. In this article the focus is on punk in the United States. We’re the members of the Master Race We don’t judge you by your face First we check to see what you eat Then we bend down and smell your feet (Adny Shernoff, ‘Master Race Rock’, from The Dictators’ The Dictators Go Girl Crazy! [1975]) It is conventional to distinguish between punk in the United States and punk in England; to suggest, perhaps, that American punk was more nihilistic and English punk more anarchistic. -
Dinâmicas Ideológicas No Movimento Punk Marco Antonio Milani
Dinâmicas ideológicas no movimento punk Marco Antonio Milani * Resumo : O movimento punk teve duas partes em sua ideologia, a negação do poder macro e a negação do poder micro. A primeira parte existiu nas idéias dos primeiros punks, em Nova Iorque e Inglaterra, a segunda parte evoluiu da primeira com a adoção de doutrinas políticas como o anarquismo e o comunismo, ela está presente na maioria dos punks ao redor do mundo. Palavras-chave : Punk; ideologia; política; poder. Abstract : The punk movement has two parts on your ideology, the deny of the macro and the deny of the micro power. The first part existed in the ideas of the first punks, in New York and England, the second part evolutes from the first with adoption of politics doctrines, like anarchism and communism, it is present in the most of punks around the world. Key words : Punk. Ideology; politics; power. Em 1º de dezembro de 1976 é dito o primeiro palavrão da televisão inglesa: Johnny Rotten declara no programa de Bill Grundy, bem na hora do chá das cinco: “Fuck”. O apresentador é suspenso por duas semanas e a imprensa inglesa faz uma sensação. A Inglaterra ficou chocada! (BIVAR, 1992). João Gordo, vocalista da banda Ratos de Porão, declara antes de um show nos anos 80: “Pau no cu da Globo, pau no cu de Deus” Atitudes como essas se tornaram extremamente comum entre os punks e é através delas que eles são muitas vezes lembrados. Como explicar tais atitudes sem ser contraditório ou sem seguir o senso comum que as trata como “rebeldia adolescente” e “falta de educação”? Para fugir dessas idéias simplistas este estudo vê nas atitudes do movimento punk uma ideologia autêntica e tenta explicá-la; o que, contudo, não é tarefa fácil, já que suas características são muito discutidas até mesmo entre os punks. -
Download This Document
Brown, A.R. (2015) ‘Explaining the naming of heavy metal from rock’s “Back Pages”: a dialogue with Deena Weinstein’. Metal Music Studies, 1 (2): 233-261. Online at: http://dx.doi.org/10.1386/mms.1.2.233_1 ResearchSPAce http://researchspace.bathspa.ac.uk/ This version is made available in accordance with publisher policies. Please cite only the published version using the reference above. Your access and use of this document is based on your acceptance of the ResearchSPAce Metadata and Data Policies, as well as applicable law:- https://researchspace.bathspa.ac.uk/policies.html Unless you accept the terms of these Policies in full, you do not have permission to download this document. This cover sheet may not be removed from the document. Please scroll down to view the document. Author’s note: This is the final draft version of the article accepted for publication by Metal Music Studies on the 2nd December 2014. The final copy-edited article is due to be published as: Brown, A.R. (2015) ‘Explaining the Naming of Heavy Metal from Rock’s “Back Pages”: A dialogue with Deena Weinstein’, Metal Music Studies, I (2): 233-261 (April). Explaining the Naming of Heavy Metal From Rock’s “Back Pages”: A Dialogue with Deena Weinstein The origins of the term heavy metal or when the genre was first named is a perennial topic of debate and conjecture among fans, popular music historians, academic-fans and fan-academics. Such debates and refutations can also be found across the web, on metal-blogs, net-cyclopedias, discographies and fan forums. -
Punk, Love and Marxism
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-11-2016 12:00 AM Bodies: Punk, Love and Marxism Kathryn Grant The University of Western Ontario Supervisor Dr. Christopher Keep The University of Western Ontario Graduate Program in Theory and Criticism A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Kathryn Grant 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Continental Philosophy Commons, Other Music Commons, and the Theory and Criticism Commons Recommended Citation Grant, Kathryn, "Bodies: Punk, Love and Marxism" (2016). Electronic Thesis and Dissertation Repository. 3935. https://ir.lib.uwo.ca/etd/3935 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract: This thesis returns love to the purview of Marxism and punk, which had attempted to ban the interpersonal in respective critiques of abstractions. Love-as-sense—as it is figured by Marx— will be distinguished from the love-of-love-songs, and from commodity fetishism and alienation, which relate to this recuperated love qua perception or experience. As its musical output exhibited residue of free love’s failure, and cited sixties pop which characterized love as mutual ownership, American and British punk from 1976-80 will be analyzed for its interrogation of commodified love. An introductory chapter will define love as an aesthetic activity and organize theoretical and musical sources according to the prominence of the body. -
Punk Graphics Press Release
MUSEUM OF ARTS AND DESIGN EXHIBITION EXPLORES VISUAL CULTURE OF PUNK THROUGH MORE THAN 400 WORKS Too Fast to Live, Too Young to Die: Punk Graphics, 1976–1986 April 9, 2019 – August 18, 2019 Photo: PD Rearick, courtesy Cranbrook Art Museum NEW YORK, NY (March 7, 2019) – THe Museum of Arts and Design (MAD) will present Too Fast to Live, Too Young to Die: Punk Graphics, 1976–1986, an exhibition that explores tHe punk and post-punk moVements tHrougH tHe lens of grapHic design. THe exhibition, on view from April 9 tHrougH August 18, 2019, will feature more tHan four Hundred of punk’s most memorable grapHics, including flyers, posters, album covers, promotions, zines, and otHer epHemera. “Too Fast to Live, Too Young to Die charts punk’s explosiVe impact on design and examines its complex relationsHip witH art, History, and culture,” said Chris Scoates, MAD’s Nanette L. Laitman Director. “Punk questioned everytHing, and it’s tHat spirit of inquiry tHat is driving MAD forward today, presenting and debating innovative works and ideas witH lots of energy, color, and noise.” 2 COLUMBUS CIRCLE NEW YORK, NEW YORK 10019 P 212.299.7777 MADMUSEUM.ORG Originating at Bloomfield Hills, Michigan’s Cranbrook Art Museum, the exhibition has been adapted for its run at MAD to include selections that sHowcase the visual output of New York City’s punk scene: flyers from the famed East Village punk venue CBGB; concert posters and memorabilia from Blondie, the Ramones, and otHer artists; early issues of Punk magazine; and more. “Since its rebellious inception in tHe 1970s, punk Has always exhibited very visual forms of expression,” said Andrew Blauvelt, Director of Cranbrook Art Museum and Curator-at-Large for Design at MAD. -
Black & Brown Women of the Punk Underground
Sarah Lawrence College DigitalCommons@SarahLawrence Women's History Theses Women’s History Graduate Program 11-2018 Game Changers & Scene Makers: Black & Brown Women of the Punk Underground Courtney Aucone Sarah Lawrence College Follow this and additional works at: https://digitalcommons.slc.edu/womenshistory_etd Part of the Women's History Commons Recommended Citation Aucone, Courtney, "Game Changers & Scene Makers: Black & Brown Women of the Punk Underground" (2018). Women's History Theses. 37. https://digitalcommons.slc.edu/womenshistory_etd/37 This Thesis - Open Access is brought to you for free and open access by the Women’s History Graduate Program at DigitalCommons@SarahLawrence. It has been accepted for inclusion in Women's History Theses by an authorized administrator of DigitalCommons@SarahLawrence. For more information, please contact [email protected]. Game Changers & Scene Makers: Black & Brown Women of the Punk Underground Courtney Aucone Thesis Seminar Dr. Mary Dillard December 6, 2018 Submitted in partial completion of the Master of Arts Degree at Sarah Lawrence College, December 2018 Table of Contents: Acknowledgements……………………………………………………………………………………….…......1 Introduction…………………………………………………………………………………………………….…..2 v A Note on Methodology…………………………………………………………………………………21 Chapter I: “A Wave of History”…………………………………………………………………………... 26 Chapter II: The Underground…………………………………………………………………………….. 51 Chapter III: “Somos Chulas, No Somos Pendejas”: Negotiating Femininity & Power in the Underground……………………………..…………………………………………………………………70 -
The White Noise Supremacists” (From the Village Voice, 1979)
LESTER BANGS “The White Noise Supremacists” (from the Village Voice, 1979) The other day I was talking on the phone with a friend who hangs out on the CBGB's scene a lot. She was regaling me with examples of the delights available to females in the New York subway system. "So the train came to a sudden halt and I fell on my ass in the middle of the car, and not only did nobody offer to help me up but all these boons just sat there laughing at me." "Boons?" I said. "What's boons?" "You know," she said. "Black guys." "Why do you call them that?" "I dunno. From `baboons,' I guess." I didn't say anything. "Look, I know it's not cool," she finally said. "But neither is being a woman in this city. Every fucking place you go you get these cats hassling you, and sometimes they try to pimp you. And a lot of the times when they hassle you they're black, and when they try to pimp me they're always black. Eventually you can't help it, you just end up reacting." Sometimes I think nothing is simple but the feeling of pain. When I was first asked to write this article, I said sure, because the racism (not to mention the sexism, which is even more pervasive and a whole other piece) on the American New Wave scene had been something that I'd been bothered by for a long time. When I told the guys in my own band that I was doing this, they just laughed. -
Rock and Roll Music
Rock & Roll Michael Hardaker, HRDMIC006 A dissertation submitted in fulfilment of the requirements for the award of the degree of Master of Arts specialising in Creative Writing Faculty of the Humanities University of Cape Town 2017 This work has not been previously submitted in whole, or in part, for the award of Universityany degree. It is my ownof work.CapeEach significant Town contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: Date: 2017-08-21 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town ABSTRACT Through unfolding, fragmentary memoirs, the disconnected odyssey of Nick Numbers, a rock music critic working in London and LA through the 1970s into the early 1980s, Rock & Roll explores the multiple realities that exist between documentary, documentable fact and supposedly pure fiction. Real people and verifiable occurrences are interwoven with invented characters and situations in a way that blurs any clear distinction between the two. The book also sees how the power of additions such as images and footnotes can add, or perhaps undermine, authority and credibility to a story. Meanwhile, stories connect the twin musical and lyrical strands, black rhythm and blues and the writings of the Beat generation, that somehow merged in the mid-1960s to produce rock music. -
Sylvie Simmons, I’M Your Man: the Life of Leonard Cohen, New York: Ecco, 2012
Almost a Miracle A review of Sylvie Simmons, I’m Your Man: The Life of Leonard Cohen, New York: Ecco, 2012 Written for the Leonard Cohen Files by Doron B. Cohen Four years ago I concluded my review of the second edition of Ira Nadel’s biography of Leonard Cohen (Various Positions: A Life of Leonard Cohen, 2007) saying that as far as a really satisfying biography of LC is concerned, “we are still waiting for the miracle”. Since then we’ve had two distinctly non-miraculous biographies (Tim Footman, Leonard Cohen: Hallelujah, 2009 and Anthony Reynolds, Leonard Cohen: A Remarkable Life, 2010). We now have in our hands a very promising third one. Did the miracle finally happen? Well, near enough. Perhaps not a genuine Crossing of the Sea miracle, but magical all the same. When I learned about the biography being written by Sylvie Simmons, I did not expect it to be the final, definitive biography (if such a thing is possible at all), but I did have several expectations: that the book would be well-written; that it would speak intelligently about the music; that it would reveal some new information; that it would be free of most of the errors which plagued the earlier biographies. These expectations were, to a great extant, met by the book. The fact that I am still left with a taste for more does not detract from the author’s achievement. First, a formal “Disclosure” is required: I met Sylvie Simmons in Las Vegas after the last concert of the 2010 world tour and had a long and lively conversation with her.