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MD Tour Press Release
Ubu Projex Press Information dated 2/28/11 [email protected] The Annotated Modern Dance Pere Ubu tours Europe in May 2011 with a special program, "The Annotated Modern Dance." The band will perform its seminal debut album in its entirety along with the Hearpen singles that preceded it. Brief anecdotes will precede the songs. "The Modern Dance" was released in February 1978 and stunned the pop and punk worlds with its vision and audac- ity. It quickly became a fixture in Great / Most Influential Albums Of All Time lists. Jon Savage, Sounds, 2/11/78 Uh-oh, this is getting frustrating, trying to tell you how good this is - black and white is an inadequate substitute for the impact heard... This is a brilliant debut. Granted it lacks the superficial accessibility of lesser works, but this time around the aroma lingers. This is built to last! Ubu's world is rarely comfortable, full of the space beyond the electric light and what it does to people, but always direct and unwavering. And courageous. Ian Birch, Melody Maker, 3/18/78 It's a devastating debut...this album has struck me with a vengeance. Because it delivers such a powerful, complex and open-ended punch, it's almost impossible at such an early stage to explain why or how in full detail. David Stubbs, Uncut, August 2006 - 5 Stars Announced by the siren squeal of Allen Ravenstine's analogue synth which launches "Non- Alignment Pact," The Modern Dance is a product of Cleveland, the living model of punk's post-industrial wasteland. -
Download (112Kb)
Deliciously Crazy By Order Of Mayor Pawlicki, Pere Ubu (2CD, Cherry Red) When I interviews David Thomas, lead singer of Pere Ubu, back the end of the 20th Century, he had this to say about gigs: 'We don't like touring. We like the playing but not the driving. We don't like being in the newspaper. We don't have anything to say that anybody wants to hear. We don't care. I think that sums it up.' Mind you, he also said that he 'always thought [Pere Ubu] were a very traditional rock band. No, we are a very traditional rock band and always have been. It's not our fault that others have abandoned their roots and culture and traditions.' If you've heard the lurching, cacophonous monster that is Pere Ubu making music then you will probably be as sceptical as me. Pere Ubu came screaming out of Cleveland Ohio on the tail of American new wave and punk. Desperate to find new things to write about, the UK music press created scenes were there were none, invented fictional success stories and nonsensical controversies, launching a thousand bands they would later torpedo and sink. Some how, Pere Ubu are still afloat on an ocean of ragged vocals, jagged guitar, squawky synthesizers and offbeat rhythms. The press release uses the phrases 'dedicated brutality' which comes pretty close. I love Pere Ubu. They have never sounded like anyone else, have never bowed to peer or critical pressure, and have ploughed their own way through the music industry from the word go. -
The Blank Generation
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Blank Generation (These are excerpts from my book "A History of Rock and Dance Music") Akron 1976-80 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The "blank generation" came out of a moral vacuum. While punks roamed the suburban landscape, blue-collar workers were feeling the pinch of an economic revolution: human society had left the industrial age and entered the post-industrial age, the age in which services (such as software) prevail over manufacturing. Computers now rule the world, from Wall Street to Boeing. The assembly line took away a bit of the personality of the worker, but that was nothing: the new service- based economy takes away the worker completely, physically. In the post-industrial society the individual is even less of a "person". The individual is merely a cog in a huge organism of interconnected parts that works at the beat of a gigantic network of computers. This highly sophisticated economy treats the individual as a number, as a statistic. The goal is no longer to create a robot that behaves like a human being, but to create a human being that behaves like a robot: robots are efficient and lead to manageable and profitable businesses, whereas humans are inefficient and difficult to manage. -
Pere Ubu Stage Plot 7/4/2
What is Disastodrome? Disastodrome is a three day festival of voice and vision where the reputations of 18 avant-garage heroes will be collectively tested. These boundary-breakers, forever outside the world of music-by-numbers, are led by Pere Ubu founder, David Thomas. David Thomas is "one of America's most enigmatic and visionary talents" and a vocalist of genuine originality. His avant-rock group Pere Ubu is a byword for the uncompromising pursuit of musical vision. His improvisational trio, David Thomas and two pale boys, is the latest in a line of pop experiments intent on rewriting the rules of music production. He has collaborated with musicians of all sorts from the steppes of Siberia to the canals of Manchester, lectured at universities and art centers on "The Geography of Sound in the Magnetic Age" and, in 2002, starred in the West End production of "Shockheaded Peter." Disastodrome 2003, staged at the Freud Playhouse, UCLA, Los Angeles, February 21-23, 2003, and produced by UCLA Live, includes live performances from Pere Ubu, Frank Black, and The Kidney Brothers, as well as the first appearance in 27 years of the legendary Rocket From The Tombs and the American premiere of David Thomas' rogue opera, Mirror Man. The festival will be hosted by Johnny Dromette, creator of the original datapanik range of goods and services, and will feature a variety of lobby events, displays and motivational apparatus items called Foyerdrome, one component of which is the roving Voices From The Fringe, delivered by neo-beat poet Bob Holman. The early Disastodromes (1977-78) were staged at a radio theater in a broken part of Cleveland and featured burst steam pipes, flaming sofas and voice-of-doom winos lurking in all the dark corners. -
This Is How We Do: Living and Learning in an Appalachian Experimental Music Scene
THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS MAY 2011 Center for Appalachian Studies THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE A Thesis by SHANNON A.B. PERRY May 2011 APPROVED BY: ________________________________ Fred J. Hay Chairperson, Thesis Committee ________________________________ Susan E. Keefe Member, Thesis Committee ________________________________ Patricia D. Beaver Member, Thesis Committee ________________________________ Patricia D. Beaver Director, Center for Appalachian Studies ________________________________ Edelma D. Huntley Dean, Research and Graduate Studies Copyright by Shannon A.B. Perry 2011 All Rights Reserved ABSTRACT THIS IS HOW WE DO: LIVING AND LEARNING IN AN APPALACHIAN EXPERIMENTAL MUSIC SCENE (2011) Shannon A.B. Perry, A.B. & B.S.Ed., University of Georgia M.A., Appalachian State University Chairperson: Fred J. Hay At the grassroots, Appalachian music encompasses much more than traditional music genres, like old-time and bluegrass. While these prevailing musics continue to inform most popular and scholarly understandings of the region’s musical heritage, many contemporary scholars dismiss such narrow definitions of “Appalachian music” as exclusionary and inaccurate. Many researchers have, thus, sought to broaden current understandings of Appalachia’s diverse contemporary and historical cultural landscape as well as explore connections between Appalachian and other regional, national, and global cultural phenomena. In April 2009, I began participant observation and interviewing in an experimental music scene unfolding in downtown Boone, North Carolina. -
The Late Show - Pere Ubu
hearpen.com: [Home] [View Cart] [About Us] [Technical Issues] [ubuprojex.com] The Late Show - Pere Ubu Wasted 2:59 preview Come Home 4:37 preview 30 Seconds Over Tokyo 5:25 preview Heaven 1:35 Mirror Man 2:35 Cry 3:15 Talk To Me 3:19 Honey Moon 2:53 Kathleen 4:42 Winter In The Firelands 7:38 Download file size: 95.2MB Description: This is known as the Lost Band, recorded during a tour promoting Story Of My Life Total Running Time - 39:18 and supporting They Might Be Giants. Earlier in the • day Pere Ubu played with TMBG and NRBQ in Source: Live DAT. Central Park, New York City, and then went off on • their own to do two shows at The Knitting Factory. Purchase Options: This, then, is the third show of the day. Following $10 for entire album the loss of Eric Drew Feldman to The Pixies, Garo Yellin, from The Ordinaires, was recruited to join the • band in April 1993. He recorded 4 demo tracks for Catalog: Hearpen HR138 what was to become Raygun Suitcase but commitments to The Ordinaires meant he had to be replaced in May 1994. Produced and recorded by Natalie Budelis on DAT at The Knitting Factory, New York City, on July 31 1993. Pere Ubu (v.7.0): David Thomas - vocals, melodeon, musette Jim Jones - guitar Garo Yellin - electric cello Michele Temple - bass Scott Krauss - drums Artwork: Original art design by Alexandre Horne, webmaster of Pere Ubu Radio. This link will load a PDF file of printable artwork into your browser. -
Alvin Ailey's Embodiment of African American Culture
DeFrantz.00 FM 10/20/03 2:50 PM Page ii Alvin Ailey’s Embodiment of African American Culture 1 2004 DeFrantz.00 FM 10/20/03 2:50 PM Page iii DANCING REVELATIONS THOMAS F. DEFRANTZ DeFrantz.00 FM 10/20/03 2:50 PM Page iv 1 Oxford New York Auckland Bangkok Bogotá Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford 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, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data DeFrantz, Thomas Dancing revelations : Alvin Ailey’s embodiment of African American culture / Thomas F. DeFrantz. p. cm. Includes bibliographical references and index. ISBN 0-19-515419-3 1.Ailey, Alivn. 2. Dancers—United States—Biography. 3.Choreographers— United States—Biography. 4.Alvin Ailey American Dance Theater. 5.African American dance. I. Title. GV1785.A38 D44 2003 792.8'028'092—dc21 2002156670 Credits: Photographs: frontispiece and pages 5, 8, 19, 47, 63, 95, 101 courtesy and copyright by Jack Mitchell; cover illustration and pages 11, 12,courtesy and copyright by J. -
What Is Post-Punk?
What is Post-Punk? A Genre Study of Avant-Garde Pop, 1977-1982 Mimi Haddon Schulich School of Music McGill University, Montréal April 2015 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Mimi Haddon 2015 iii TABLE OF CONTENTS Abstract ........................................................................................................................................... vi Résumé ......................................................................................................................................... vii Acknowledgements ..................................................................................................................... viii List of Musical Examples ................................................................................................................ x List of Diagrams and Tables ........................................................................................................... xi List of Figures ............................................................................................................................... xii INTRODUCTION ........................................................................................................................... 1 Historiography and Genre ........................................................................................................ 4 Genre as Musical Style .......................................................................................................... -
How Alfred Jarry's Ubu Roi And
FROM IRREVERENT TO REVERED: HOW ALFRED JARRY’S UBU ROI AND THE “U-EFFECT” CHANGED THEATRE HISTORY Lance Mekeel A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2013 Committee: Jonathan Chambers, Ph.D., Advisor Kara Joyner, Ph.D. Graduate Faculty Representative Lesa Lockford, Ph.D. Scott Magelssen, Ph.D. © 2013 Lance Mekeel All Rights Reserved iii ABSTRACT Jonathan Chambers, Advisor For decades, theatre history textbooks and other influential studies on theatre history have positioned Ubu Roi, Alfred Jarry’s 1896 avant-garde “classic,” as the beginning or originator of the historical avant-garde and precursor to the playwrights considered as part of Martin Esslin’s “Theatre of the Absurd.” Much of this reputation is built on inaccurate accounts of the premiere production, put down by those involved or in attendance, who had particular aims in reporting the event in the ways they did. Those accounts would end up being put to use as the base on which various scholars would establish the premiere of Ubu Roi as the ignition of the historical avant-garde. This dissertation is a poststructuralist historiographical study in which I analyze the various statements made, first by participants and witnesses to the premiere production, and then by scholars and critics who take those accounts as factual, that place Ubu Roi on a path to legitimization and inclusion in the Western canon. In my research, I examine initial accounts of the premiere production, early post mortem accounts of Jarry’s life, the proliferation of the character Ubu in early twentieth century French society, French and English critical and biographical studies of Jarry and Ubu Roi, anthologies and edited collections of Ubu Roi, and reviews and other related materials of several key French revivals and over fifteen English- language revivals of the play. -
Jarrys Shakespearean Spirit 3.07-Final.Pdf
Mittenberg 1 Notice: Signature Page Not Included This thesis has been signed and approved by the appropriate parties. The signature page has been removed from this digital version for privacy reasons. The signature page is maintained as part of the official version of the thesis in print that is kept in Special Collections of Sojourner Truth Library at SUNY New Paltz. Mittenberg 3 Proto-Absurdist Strides and Leanings: Alfred Jarry’s Shakespearean Spirit in Ubu Roi Corey Mittenberg Mittenberg 4 CONTENTS Shakespeare’s French Makeovers and Surgeries 9 Legitimized Shakespeare vs. Bastardized Shakespeare 24 The Son of the Drunkard and the Lunatic Makes a Monster 29 Ubu Emerges 36 Art Imitates Life Imitates Art Imitates Life Imitates Art 43 “…Under thatte Name Many Goodlie Tragedies”: The Shakespearean in Ubu Roi 50 Who Made Ubu? 53 Familiar Faces and Déjà Vu Scenes 72 “S’il n’y avait pas de Pologne, il n’y aurait pas de Polonais!” (“If there weren’t any Poland, there wouldn’t be any Poles!”) – Le Parler Ubu’s (im)Proper Nouns 90 Watching Ubu Staged 110 Works Cited 121 Mittenberg 5 The medium of drama is confrontational by its very nature. There are no tangible boundaries between actors and the people who view it, besides perhaps that of a raised stage or a set of footlights. But, usually, these small barriers do not impede the experience of sharing a space with the action of a story: the actors breathe the same air as the people in the last row of a cramped theater or stand under the same sky as a crowd attending an open-air production. -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Psychedelic Underground and Dream-pop (These are excerpts from my book "A History of Rock and Dance Music") Paisley Underground 1982-87 The "American Graffiti" phenomenon of the early Seventies, and the subsequent appropriation of the Sixties by the new wave, caused a revival of many of the styles of that happy decade. By far the most pervasive and long-lived was the revival of psychedelia, that kept recurring throughout the Eighties and the Nineties. Los Angeles had its own movement, the "Paisley Underground". Psychedelia became merely a pretext to concoct baroque, oneiric and hypnotic sounds, often with the help of keyboards and strings. Byrds-ian jangling guitars and naive melodies a` la Hollies dominate Emergency Third Rail Power Trip (feb/mar - oct 1983) by Rain Parade (1), with Matt Piucci on vocals and Dave Roback on guitar, as well as the EP Baroque Hoedown (fall 1982 - dec 1982) and the album Sixteen Tambourines (? 1983 - oct 1983) by Mike Quercio's Three O'Clock (1). Needless to say, the Paisley Underground was only the tip of the iceberg. The Dream Syndicate (12), formed by guitarists Steve Wynn and Karl Precoda and bassist Kendra Smith, acted as the natural liaison between Television (and the new wave in general) and the new generation of psychedelic rockers. -
Steinski and the Origins of Mashup
KTRU 91.7 FM THE THRESHER is NOT REspOnsiBLE FOR THE CONTENT OF THE riCE RADIO FOLIO. SPRING 2009 Various Artists Year in Review: African Scream Contest Analog Africa This new compilation of recordings from the 1970s in Benin and Togo present a broad and vibrant blend of traditional rhythms, Cuban and Brazilian drumming Best Albums of 2008 styles, psychedelic flares, and a healthy funk that draws equally from Fela Kuti and James Brown. Benin and its neighbor Togo Rap and folk, soul and post-punk—2008 brought albums for every taste, and with this round- are couched between social and musical powerhouse Nigeria up of our favorites, KTRU presents a musical smorgasbord with an emphasis on the local scene. (home to Fela and his Africa 70, the fountainhead of afrobeat) and Ghana (the home of highlife), two sounds that are very In no particular order, here’s some of the best the year had to offer. influential on the local music. But Benin also houses a large B L A C K I E Studemont Project population descended from the repatriated slaves of liberated Wilderness of North America Warmth of the Midnight Sun Brazil, who brought the musical styles and rhythms from their Self-Released Self-Released erstwhile home. And finally Benin is the place of origin of the B L A C K I E’s live set, framed by his cus- One of the hardest working acts in the Vodoun (or Voodoo) religion, where music holds a special trance- tom multi-kilowatt wall of sound, has quickly local scene, Studemont Project not only of- inducing power.