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Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
Shapes of a Girl : the Archetypal Embodiments of Bjork
Shapes of a Girl: The Archetypal Embodiments of Bjork by Michael Lewis for Rick Tarnas Archetypes of Art & Culture December 12, 2005 “I’m a fountain of blood, in the shape of a girl.” -- Bjork The first time I really heard Bjork was a revelation to me indicating that something new could again be emerging on the frontier of modern music. Although I was already vaguely aware of the super-star musician Bjork for a number of years, I had barely paid much attention to perhaps nothing more than a few partial songs played over a radio-- until I finally heard the emotional power and creative genius of Bjork through listening to her song, “Bachellorette.” The song opens in a dramatically cinematic escalation of or- chestral strings, from which then the sheer power and boldness of her voice emerges like the natural calling of a hungry female chimera from a dense and thriving forest of sound, “I’m a fountain of blood, in the shape of a girl.” Her vocals then continue to un- ravel in an emotionally explosive poetic rhapsody, delivering a song of enigmatic pres- ence that ultimately climaxes and leaves the listener with a sense having been witness to an embodiment of the cosmic feminine force. Completely taken by the influence of this song on my mood and imagination, I soon found myself exploring the vast collection of Bjork’s musical artistry that spans more than seven albums over two decades. I came to recognize how Bjork, as a professional artist and radical alternative cultural icon, has sculpted not only a varied spectrum of styles and textures of artistic expres- sion, but has also continuously transformed and re-invented her self as a persona in the process. -
Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8
Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8 Music Boo-Hooray is proud to present our eighth antiquarian catalog, dedicated to music artifacts and ephemera. Included in the catalog is unique artwork by Tomata Du Plenty of The Screamers, several incredible items documenting music fan culture including handmade sleeves for jazz 45s, and rare paste-ups from reggae’s entrance into North America. Readers will also find the handmade press kit for the early Björk band, KUKL, several incredible hip-hop posters, and much more. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Ben Papaleo, Evan, and Daylon. Layout by Evan. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Table of Contents 31. [Patti Smith] Hey Joe (Version) b/w Piss Factory .................. -
Shellie Trierweiler English 122, Section 007 Miss French February
Shellie Trierweiler English 122, section 007 Miss French February 23, 2011 Evolution of an Artist: Expansion of Me Fearless Expression Her name? Regularly mispronounced. Her music? Impossible to categorize. Her avant- garde visual artistry? Often misunderstood. Her voice? So matchless, many refer to it as being from another world. Björk, a brilliant vocalist from Iceland, has transcended her early origins as an eclectic dance and pop star and evolved into an international superstar who gained critical acclaim as a composer, musician, and songstress entirely untouched by conformity. Björk Gumundsdottir is the full name given to her at birth. Most English-speaking people, including myself, have incorrectly assumed it is pronounced (Bee-york). Björk, herself clears up the common confusion by stating in an NPR interview, “(BE-yerk) I usually say it rhymes with jerk. You know if someone is a real jerk.” Throughout her career, she has delved into an eclectic blend of genres, combining an innovative mix of folk, punk rock, collegiate rock, alternative, electronica, pop, trip-hop, jazz, experimental, and folk, just to name a few. As Björk matures, she expands our perception of what is, and what creates, musical sounds. She combines volcanic beats—yes…literally gathered by engineers from a volcano—with classical orchestral strings, to bring amazing songs to life. Björk was classically trained in piano and voice as a child and recorded her first album when she was 11 years old. It was a compilation of Icelandic folk cover songs that she was not particularly fond of. In the documentary film, Inside Björk, she admits, “I felt funny about Trierweiler 2 having an album out that said Björk on it, but it wasn’t my work. -
Full Text in Diva
http://www.diva-portal.org This is the published version of a paper published in Nordisk kulturpolitisk tidskrift. Citation for the original published paper (version of record): Volgsten, U. (2014) Music, Culture, Politics: Communicating Identity, Authenticity and Quality in the 21st Century. Nordisk kulturpolitisk tidskrift, 17(1): 114-131 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-37120 Music, Culture, Politics Communicating Identity, Authenticity and Quality in the 21st Century Ulrik Volgsten Ulrik Volgsten is associate professor in Musicology at Örebro University. His research is concerned with musical communication in different media. In addition to the fields of cognitive science and the psychology of music, an important focus of research has been the conceptual history of Western music (composer, work, listener) and musical aesthetics. Volgsten is presently involved in the ethnographic project Music Identity and Multiculture, wherein the identity functions of music for participants in ethnic-based associations in © Universitetsforlaget Sweden are examined. Email: [email protected] Nordisk Kulturpolitisk Tidsskrift, vol. 17, Nr. 1-2014 s. 114–131 ISSN Online: 2000-8325 ABSTRACT PEER REVIEWED ARTICLE The author suggests that music harbours a special capacity for its listeners to sympathetically relate to foreign sets of values. Music has the ability to function as a limit-transgressing and unifying link at both a collective and individual level. That music is particularly suited for this has to do with the emotional power of music, the affective impact by which music in its very specific way becomes a felt experience in time. -
Björk Reaches Beyond the Binaries
COMMUNICATOR BETWEEN WORLDS: BJÖRK REACHES BEYOND THE BINARIES Edwin F. Faulhaber A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2008 Committee: Kimberly Coates, Advisor Robert Sloane ii ABSTRACT Kimberly Coates, Advisor Icelandic pop star Björk has spent her career breaking down boundaries, blurring lines, and complicating binaries between perceived opposites. Examining a variety of both primary and secondary sources, this study looks at the ways that Björk challenges the binary constructions of “high” and “low” art, nature and technology, and feminism and traditional femininity, and also proposes that her uniquely postmodern approach to blurring boundaries can be a model for a better society in general. This study contends that Björk serves as a symbol of what might be possible if humans stopped constructing boundaries between everything from musical styles to national borders, and as a model for how people can focus on their commonalities while still respecting the freedom of individual expression. This is particularly important in the United States of America, a place where despite its infinite potential for cultural pluralism and collaboration, there are as many (or more) divisions between people based upon race, class, gender, and religion as anywhere else in the world. iii Dedicated to Morgaine iv ACKNOWLEDGMENTS I would like to thank my committee, Dr. Kim Coates and Rob Sloane, for all of their suggestions and encouragement while I wrote this thesis. I would also like to thank Dr. Don McQuarie and Gloria Enriquez Pizana for their support and assistance, as well as a host of wonderful professors who laid the groundwork for this thesis by inspiring me along the way: Rob, Kim, Drs. -
Björk Dj Lynnée Denise
292 BJÖRK DJ LYNNÉE DENISE ILLUSTRATION BY WINNIE T. FRICK WOMEN WHO ROCK WHO WOMEN celand is one of the most volatile places in the part of her development as a creative being . Perhaps world, a hyper-monitored geological hotspot . this explains why Björk has been at the cutting age IOn November 21, 1965, in one of the least of technology, as indicated by the multimedia project populated countries on earth, Björk Guðmundsdót- Biophilia (2011), which was billed as the first interac- tir was born . Björk is a musicological hotspot—an tive app album . uncategorizable triple Scorpio with an otherworldly Although the point of entry to Björk’s sorcery understanding of the acoustics of ecology and the for most begins with the Sugarcubes, between 1977 value of transdisciplinary art . and 1987, she established a rhythmic foundation and For most Americans, Björk surfaces in the col- cultivated her identity as a singer . At the urging of lective national memory as the woman who wore the her mother, Björk became a public figure and child swan dress to the Academy Awards . Her appeal to celebrity at the age of twelve, releasing a self-titled the cohort of black women who follow her life may record consisting mostly of covers . The experience be influenced in part by our witnessing her objecti- left her with the desire to reclaim her privacy and fication . She was read by the average consumer of produce music with her peers, leading to a series popular culture as a freak of nature, and her place of collaborations with groups like the all-girl band of origin was exoticized enough to be offensive—a Spit and Snot and the experimental post-punk bands phenomenon with which we are well familiar . -
Björk, Polar Music Prize Laureate 2010 the Icelandic Singer
Björk, Polar Music Prize Laureate 2010 The Icelandic singer, songwriter and multi-instrumentalist started her career in Reykjavik in 1977 at the age of 11, by recording an eponymous album of children’s songs and covers of popular songs that went platinum in Iceland. At 14 she played drums in the all-girl punk band, Spit and Snot, and later tried her hand at jazz-fusion in Exodus. The early punk influence was apparent in Jam-80, eventually renamed Tappi Tikarrass, translated from the Icelandic as “Cork the Bitch’s Ass.” Her next group, KUKL toured and collaborated with UK anarcho-punks Crass. After shifts & restructurings, KUKL morphed into the Sugarcubes (starting officially on the birth date of her son in 1986). Björk achieved international success as the lead vocalist for the group, which lasted until 1992, and was perhaps best known for the 1988 single,Birthday. (In 2006 the Sugarcubes reformed for a one-night benefit show in Reykjavik.) After the Sugarcubes disbanded, Björk established herself as a solo artist with Debut (1993). She has since recorded five solo albums: Post (1995), Homogenic (1997), Vespertine (2001), Medulla (2004), and Volta (2007), as well as releasing compilations and soundtracks. In addition to her musical career, Björk won the Best Actress Award at the Cannes Film Festival in 2000 for her lead role in Dancer in the Dark. She was also nominated for an Oscar for her song I’ve Seen It All composed alongside the soundtrack for the film. Most recently, she co-starred with her partner, the visual artist Matthew Barney, in his film Drawing Restraint 9, for which she also composed the soundtrack (brass sections from the film are sampled on Volta’s Declare Independence and Vertebrae By Vertebrae). -
Download Program Notes
Virus All Is Full of Love Björk jörk is an Icelandic singer and songwrit- names” are patronymics that typically change Ber who has shown remarkable staying with each generation to reflect the name of a power since gaining widespread attention in person’s father. Björk’s full name with pat- the late 1980s as lead singer of the alterna- ronymic is Björk Guðmundsdóttir, denoting tive rock band The Sugarcubes. The Icelan- “Björk daughter of Guðmund.” Growing up, dic group was short-lived — it was formed she completed the full 10-year course of the in 1986, released its first acclaimed album Barnamúsíkskóli Reykjavíkur, the oldest and in 1988, and disbanded in 1992 — but it in- most distinguished music school in her coun- spired international enthusiasm in those try (which boasts an unusual density of music few years, thanks in no small part to Björk’s schools). As a student she studied piano and extraordinary vocal variety and expressive- flute, and by the time she graduated, in 1980, ness. She continued as a solo artist, and in she had developed strong interests in jazz, 1993 she released her first solo recording, ap- minimalism, and avant-garde experimental- propriately titled Debut. It would be the first ism, in addition to classical music. But asked of nine albums to date, the most recent being to pinpoint influences in her musical style, Utopia, from 2017. Björk insists that her inspiration is not limit- Her discography has met with extraordi- ed to the work of earlier musicians. She told a nary success. Several of her albums have fig- Brazilian reporter in 1996: ured within the Top 20 in the Billboard charts, more than 30 of her singles have qualified for I’m influenced by everything, by books, international best-seller lists, and in 2015 it by the weather, by the water, by my shoes, was reported that her total record sales to date if they’re comfortable or not. -
House Grooves and Lonely Souls: ›Debut‹ by Björk
House Grooves And Lonely Souls: ›Debut‹ by Björk Music | Bittles’ Magazine: The music column from the end of the world To claim that Debut by Björk is a classic is somewhat underselling the effect it had on a generation of teens upon its release. The album came out in 1993, a year when the house revolution was in full swing, and bands such as The Stone Roses, Happy Mondays and Primal Scream had successfully merged baggy beats with funk-strewn guitar grooves. In short, if you were a music fan, it was an unbelievable time to be alive. By JOHN BITTLES The record was Björk’s first album since leaving The Sugarcubes (like the Sugarbabes, but with better hair), and perfectly captured the zeitgeist of the time. Upon release it successfully united foppy-haired indie kids, Smash Hits devoted pop fans and E’d-up ravers into one adoring mass. Not bad for an LP which Björk herself has often cited as not being her best. Unfortunately her previous work with Melody Maker darlings The Sugarcubes somewhat passed me by, meaning that my first proper introduction to the Icelandic singer’s work was through the sublime Justin Robertson remix of their breakthrough single Birthday. Adding an uplifting house feel to the band’s angular grooves, Björk’s yelp-like vocals seemed to fit perfectly within the confines of the 4/4 beat. Taken from the superb remix album It’s – It, this was the moment when Björk and dance music first began to successfully collide. Some might even claim that it proved to be the inspiration which would help shape Debut. -
Mediated Music Makers. Constructing Author Images in Popular
Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. 47 Visual reflections of Björk. 49 Conclusion . 54 2. Stardom in disguise. 56 Author image as a marketing asset. -
P Rock Band Formed in Europe with Their Later Albums “Woodface”, “Together Melbourne, Australia in 1985
Series 6 HD 10 x 22 mins Lou Reed The Programme Offering unique and unseen archive footage of Lou great auteurs - Lou Reed. From his work with Warhol Reed and The Velvet Underground, Broadcaster inspired Velvet Underground to his solo work such as Robert Elms looks back at the career of one of Rock's the “Transformer” album. The Artist Lou Reed was an American musician who served as Reed began a solo career in 1972. He had a hit the fol - guitarist, vocalist, and principal songwriter of the lowing year with "Walk on the Wild Side”. Reed was Velvet Underground. His solo career also spanned sev - known for his distinctive deadpan voice and poetic eral decades. lyrics. The Velvet Underground gained a considerable cult fol - In 2003, Rolling Stone’s list of the 500 greatest lowing in the years since its demise and has gone on to albums of all time included two albums by Reed as a become one of the most widely cited and influential solo artist, “Transformer” and “Berlin”. bands of the era. After his departure from the group, Monster Entertainment For international Sales & Distribution The Monster Mews Tel: + 353 1 6114934 Rear 51 Fax: + 353 1 6114935 Merrion Square. e: [email protected] Dublin 2, Ireland www.monsterentertainment.tv Series 6 HD 10 x 22 mins Depeche Mode The Programme Legendary DJ Rusty Egan and Broadcaster Robert the special relationship between the band and Elms discuss the music videos of Depeche Mode and Director Anton Corbijn. The Artist One of the first acts to establish an identity based Reward” the following year, commercial success was completely around the use of synthesizers, Depeche finally achieved.