Arista AL 4066 '!2G00BJ-Hbchcb!

Arista AL 4066 Personnel Patti Smith (g,voc); Richard Sohl (p); Lenny Kaye (b, g, voc); Tom Verlaine, Allen Lanier (g); Ivan Kral (b, g, keyb, voc); Jay Dee Daugherty (dr) Tracks Gloria; Redondo Beach; Birdland; Free Money; Kimberly; Break It Up; Land; Elegie Patti Smith, »die erste publizie- Patti Smith, »the first published rende Dichterin, die ihre Poesie poet to move her poetry com- komplett zu Rock´n Roll ge- pletely into rock 'n' roll and to macht hat und experimentelle entice experimental rock fans Rockfans in das verbotene Kino into the forbidden cinema of her ihrer halluzinierenden Phanta- hallucinatory fantasy« (New sie lockte« (New York Times), York Times), began her musical startete als Quereinsteigerin. career unconventionally. It took Anfangs begleitete Lenny Kaye off at a poetry reading where ihre Autoren-Lesungen auf der she was backed by Lenny Kaye Gitarre, Starfotograf Robert on guitar; later star photogra- Mapplethorpe steuerte Geld für pher Robert Mapplethorpe fi- die Underground-Kultsingle Hey nanced her punk-rock cult single Joe b/w Piss Factory bei. Ermu- Hey Joe b/w Piss Factory. In tigt vom Erfolg lieferte Smith 1975, encouraged by her suc- 1975 Horses, ein Album, auf cess, Patti Smith released Hors- dem sie Rock-Riffs und es, an album in which she fused Sprachrhythmen zum punkig- rock riffs and spoken rhythms to trashigem Klanggemisch ver- Patti Smith create a punk-trash sound. The schmilzt. Die Szene war elektri- Horses rock scene was electrified, rag- siert, fabulierte vom »besten ing about »the best garage Garagensound der 70er Jahre« sound of the 70s« (Creem Maga- (Creem) und mutmaßte, Smith habe den »Stoff von Rim- zine) and conjectured that Smith had »drawn up material baud, Burroughs, Dylan und Velvet Underground auf eine from Rimbaud, Burroughs, Dylan and Velvet Underground heiße Spritze gezogen und unter die Haut gedrückt« (So- into a hot needle and injected it under the skin« (Sounds unds). In späteren Produktionen, die als sentimentale und Magazine). Later productions were dismissed as sentimen- selbstverliebte Ergüsse abgetan wurden, konnte die Rock- tal and self-loving outpourings, since the rock-poet didn’t Lyrikerin an die metallisch harte und ungeschönte Spra- continue in the same vein as Horses, with its metallic che von Horses nicht anknüpfen. Somit bleibt diese Platte harshness and raw language. That’s why this recording re- das beeindruckende Einzelstück einer singenden Vi- mains an impressive unique production by a visionary rock sionärin des Rock´n Roll. ’n’ roll singer. Recording: January 1975 at Electric Ladyland Studios, New York City, by Bernie Kirsh Production: John Cale Date of Release: April 2006 '!2G00BJ-hbchcb! S P E A K E R S C O R N E R R E C O R D S GERMANY 24214 GETTORF STARKENBROOK 4 WWW.SPEAKERSCORNERRECORDS.COM 3 +49 (0) 4346 / 601999 5 +49 (0) 4346 / 601998 6 [email protected].

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Wavelength (December 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ---- Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson.
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Patti DP.Indd
patti smith dream of life a film by steven sebring THIRTEEN/WNET NEW YORK AND CLEAN SOCKS PRESENT PATTI SMITH AND THE BAND: LENNY KAYE OLIVER RAY TONY SHANAHAN JAY DEE DAUGHERTY AND JACKSON SMITH JESSE SMITH DIRECTORS OF TOM VERLAINE SAM SHEPARD PHILIP GLASS BENJAMIN SMOKE FLEA DIRECTOR STEVEN SEBRING PRODUCERS STEVEN SEBRING MARGARET SMILOW SCOTT VOGEL PHOTOGRAPHY PHILLIP HUNT EXECUTIVE CREATIVE STEVEN SEBRING EDITORS ANGELO CORRAO, A.C.E, LIN POLITO PRODUCERS STEVEN SEBRING MARGARET SMILOW CONSULTANT SHOSHANA SEBRING LINE PRODUCER SONOKO AOYAGI LEOPOLD SUPERVISING INTERNATIONAL PRODUCERS JUNKO TSUNASHIMA KRISTIN LOVEJOY DISTRIBUTION BY CELLULOID DREAMS Thirteen / WNET New York and Clean Socks present Independent Film Competition: Documentary patti smith dream of life a film by steven sebring USA - 2008 - Color/B&W - 109 min - 1:66 - Dolby SRD - English www.dreamoflifethemovie.com WORLD SALES INTERNATIONAL PRESS CELLULOID DREAMS INTERNATIONAL HOUSE OF PUBLICITY 2 rue Turgot Sundance office located at the Festival Headquarters 75009 Paris, France Marriott Sidewinder Dr. T : + 33 (0) 1 4970 0370 F : + 33 (0) 1 4970 0371 Jeff Hill – cell: 917-575-8808 [email protected] E: [email protected] www.celluloid-dreams.com Michelle Moretta – cell: 917-749-5578 E: [email protected] synopsis Dream of Life is a plunge into the philosophy and artistry of cult rocker Patti Smith. This portrait of the legendary singer, artist and poet explores themes of spirituality, history and self expression. Known as the godmother of punk, she emerged in the 1970’s, galvanizing the music scene with her unique style of poetic rage, music and trademark swagger.
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2005 Next Wave Festival
November 2005 2005 Next Wave Festival Mary Heilmann, Last Chance for Gas Study (detail), 2005 BAM 2005 Next Wave Festival is sponsored by: The PerformingNCOREArts Magazine Altria BAML....---- _ Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer presents Patti Smith Horses BAM Howard Gilman Opera House Nov 30 & Dec I, 2005 at 7:30pm Vocals Patti Smith Guitar Lenny Kaye Drums Jay Dee Daugherty Bass & keyboards Tony Shanahan Guitar Tom Verlaine Bass &trumpet Flea Sou nd Emery Dobyns Head of crew Barre Duryea BAM music consultant Danny Kapilian Patti Smith and band, along with BAM, will donate a portion of the event's proceeds to Gulf Coast hurricane-relief organizations. HORSES de I'ame pour I'ame gloria: in excelsis deo gloria redondo beach birdland free money kimberly break it up land: horses land of a thousand dances la mer (de) elegie OUTSIDE SOCIETY 7 songs for our time pissing in a river beca use the night southern cross ain't it strange gandhi peoploe have the power rock and roll nigger ErogllirnnQt~e _ The guardians of history are soon rewarded with history themselves. I don't remember where we found the phrase. Perhaps we read it, or dreamed it out of the air; it seemed prescient. We wanted to honor those who gave us inspiration, and to find the many ways music can become art: rhythm and melody, drawing and poetry and film. And we hoped by word and deed to inspire.
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Artforum Fusco January 30, 2007
http://www.artforum.com/diary/1 01.30.07 Gender Bender New York · Rhonda Lieberman on feminism at MoMA · Andrew Berardini around Los Angeles · William Pym on Philadelphia's biggest-ever art party Left: Coco Fusco and the Guerrilla Girls. (Photo: Brian Sholis) Right: Curator Catherine · David Velasco on de Zegher and artist Martha Rosler. (Photo: David Velasco) Terence Koh at the Whitney On Friday, I attended the first half of a two-day symposium at MoMA · Lillian Davies on on “The Feminist Future: Theory and Practice in the Visual Arts.” The Tim Gardner at the sold-out Roy and Niuta Titus Theater was packed with vintage women National Gallery artists, as well as chroniclers, comrades, and frenemies, whether they · Zach Baron at identified with the “f-word” or not. Thankfully, not much time was concerts by Patti wasted quibbling over that, as is customary in such situations, though Smith and Text of Light one questioner did complain about the “c-word,” which she found as deeply offensive as the “n-word.” The lady next to me wondered, “What’s the N-word?” Oy. I helpfully wrote it on her program. She later January 2007 crossed it out. December 2006 The day started with palpable excitement. It seemed a roomful of November 2006 underacknowledged women artists were about to taste vindication at October 2006 MoMA, the stern, withholding mothership. The venerable Lucy Lippard September 2006 kicked things off with a minihistory of our struggles, contrasting early feminist ideals of community and revolution with the more cynical August 2006 early-twenty-first-century careerism.
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Punk · Film RARE PERIODICALS RARE
We specialize in RARE JOURNALS, PERIODICALS and MAGAZINES Please ask for our Catalogues and come to visit us at: rare PERIODIcAlS http://antiq.benjamins.com music · pop · beat · PUNk · fIlM RARE PERIODICALS Search from our Website for Unusual, Rare, Obscure - complete sets and special issues of journals, in the best possible condition. Avant Garde Art Documentation Concrete Art Fluxus Visual Poetry Small Press Publications Little Magazines Artist Periodicals De-Luxe editions CAT. Beat Periodicals 296 Underground and Counterculture and much more Catalogue No. 296 (2016) JOHN BENJAMINS ANTIQUARIAT Visiting address: Klaprozenweg 75G · 1033 NN Amsterdam · The Netherlands Postal address: P.O. BOX 36224 · 1020 ME Amsterdam · The Netherlands tel +31 20 630 4747 · fax +31 20 673 9773 · [email protected] JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM cat.296.cover.indd 1 05/10/2016 12:39:06 antiquarian PERIODIcAlS MUSIC · POP · BEAT · PUNK · FILM Cover illustrations: DOWN BEAT ROLLING STONE [#19111] page 13 [#18885] page 62 BOSTON ROCK FLIPSIDE [#18939] page 7 [#18941] page 18 MAXIMUM ROCKNROLL HEAVEN [#16254] page 36 [#18606] page 24 Conditions of sale see inside back-cover Catalogue No. 296 (2016) JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM 111111111111111 [#18466] DE L’AME POUR L’AME. The Patti Smith Fan Club Journal Numbers 5 and 6 (out of 8 published). October 1977 [With Related Ephemera]. - July 1978. [Richmond Center, WI]: (The Patti Smith Fan Club), (1978). Both first editions. 4to., 28x21,5 cm. side-stapled wraps. Photo-offset duplicated. Both fine, in original mailing envelopes (both opened a bit rough but otherwise good condition). EUR 1,200.00 Fanzine published in Wisconsin by Nanalee Berry with help from Patti’s mom Beverly.
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Origins of Rock the Seventies
from the definitive, illustrated encyclopedia of rock the definitive, illustrated encyclopedia of rock Richard Buskin, Alan Clayson, Joe Cushley, Rusty Cutchin, Jason Draper, Hugh Fielder, Mike Gent, Drew Heatley, Michael Heatley, Jake Kennedy, Colin Salter, Ian Shirley, John Tobler General Editor: Michael Heatley • Foreword by Scotty Moore FLAME TREE PUBLISHING from the definitive, illustrated encyclopedia of rock FlameTreeRock.com offers a very wide This is a FLAME TREE digital book range of other resources for your interest and entertainment: Publisher and Creative Director: Nick Wells Project Editor: Sara Robson Commissioning Editor: Polly Prior 1. Extensive lists and links of artists , Designer: Mike Spender and Jake The sunshine 1960s were followed by the comparatively grey 1970s. organised by decade: Sixties, Picture Research: Gemma Walters Yet a number of stars of that drab decade started their Contents Seventies etc. Production: Kelly Fenlon, Chris Herbert and Claire Walker life in the 1960s. 2. Free ebooks with the story of other Special thanks to: Joe Cushley, Jason Draper, Jake Jackson, Karen Fitzpatrick, Rosanna Singler and Catherine Taylor In Britain, the chameleon-like David Bowie suffered several musical genres, such as David Bowie ........................................4–5 years of obscurity, Status Quo were psychedelic popsters yet to soul, R&B, disco, rap & Hip Hop. Based on the original publication in 2006 discover 12-bar blues, while Humble Pie was formed by The Eagles ..........................................6–7
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Horses”—Patti Smith (1975) Added to the National Registry: 2009 Essay by Kimbrew Mcleod (Guest Post)*
“Horses”—Patti Smith (1975) Added to the National Registry: 2009 Essay by Kimbrew McLeod (guest post)* Original album Original label John Cale “Jesus died for somebody’s sins / but not mine,” Patti Smith growled during the opening lines of “Horses,” the first album to emerge from New York City’s punk scene. Released at the end of 1975, it can best be understood by surveying the panorama of influences that shaped its creation: first and foremost, the overlapping underground arts scenes in downtown New York City during the 1960s and 1970s. While “Horses” seemed to emerge fully formed from the mind of a brilliant lyricist and musician, it was also very much the product of an environment that enabled Smith to find her voice. Growing up in a dreamworld filled with poetry and rock ’n’ roll, Smith first fell for Little Richard while living in New Jersey, which introduced her to the idea of androgyny. At age 16, she came across a copy of “Illuminations” by 19th-century French poet Arthur Rimbaud, which expanded her aesthetic horizons. By spring 1967, she graduated from high school and was doing temp work at a textbook factory in Philadelphia, which inspired her early poem-turned-song “Piss Factory,” about having her face shoved into a toilet bowl by bullying coworkers. Smith plotted her escape to New York City, where she landed a much more rewarding job at Brentano’s bookshop and also met Robert Mapplethorpe, who eventually photographed the iconic “Horses” album cover. She and Mapplethorpe became lovers and moved into the Chelsea Hotel, where Smith cultivated social connections that led her to become a performer in underground theater productions around town.
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Patti Smith a Bologna Il 15 Luglio Per Presentare L'album Banga – Il
Patti Smith a Bologna il 15 luglio per presentare l’album Banga Prima di ascoltarla live a Roma e Milano, sarà Bologna ad ospitare la band della rocker di Chicago che torna al disco di inediti dopo otto anni di attesa di Davide Turrini | Bologna | 14 maggio 2012 Lʼalbum di inediti uscirà solo il 5 giugno 2012, ma Patti Smith ha già pronto il tour europeo che partirà subito dopo e comprenderà ancora una volta nove tappe italiane, tra cui il 15 luglio Bologna. Patti Smith and her band è uno degli appuntamenti di Bolognaestate 2012 ed è inserito nelle attività programmate per celebrare il XXXII anniversario della Strage di Ustica. Sensibile alle tematiche politiche e sociali, la rocker originaria di Chicago, vita artistica formatasi sulla Est Coast tra il New Jersey e New York, sessantasei anni il prossimo dicembre, proporrà il suo undicesimo album Banga, a distanza di 37 anni dallo storico esordio con Horses. Il clima musicale e la (contro)cultura non sono più gli stessi, e non lo sono da tempo, ma il rock ruvido e doloroso della Smith sembra aver attraversato i lustri con una carismatica e vibrante forza dʼurto. Lei sa ancora cantare declamando versi come gli amici della Beat generation sapevano fare. Un marchio di fabbrica che non ha subito scossoni o revisioni nelle centinaia di date di tournée in giro per il mondo, ma che ha anzi rafforzato la coerenza di una rocker americana pacifista senza se e senza ma, nonostante le mode guerrafondaie di un ventennio di guerre diventate improvvisamente giuste o umanitarie.
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Patti Smith, Polar Music Prize Laureate 2011 Patti Smith, Born In
Patti Smith, Polar Music Prize Laureate 2011 Patti Smith, born in Chicago in 1946, the oldest of four siblings, was raised in South Jersey. From an early age she gravitated toward the arts and human rights issues. She studied at Glassboro State Teachers College and migrated to New York City in 1967. She teamed up with art student Robert Mapplethorpe and the two encouraged each other’s work process, both of them pursuing painting and drawing and she poetry. In February 1971 Smith performed her first public reading at St. Mark’s Church on the lower eastside, accompanied by Lenny Kaye on guitar. In April of the same year she co-wrote and performed the play Cowboy Mouth with playwright Sam Shepard. Continuing to write and perform her poetry, in 1974 Smith and Lenny Kaye added Richard Sohl on piano. As a trio they played regularly around New York, including the legendary Max’s Kansas City, centering on their collective and varied musical roots and her improvised poetry. The independent single release, Hey Joe/Piss Factory, featured Tom Verlaine. Along with the highly innovative and influential group Television, the trio helped to open up a restricted music scene that centered at CBGBs in New York City. After recruiting guitarist Ivan Kral, they played CBGBs for eight weeks in the Spring of 1975 and then added drummer Jay Dee Daugherty. Smith described their work as “three chords merged with the power of the word.” Smith was signed by Clive Davis to his fledgling Arista label and recorded four albums: Horses (produced by John Cale), Radio Ethiopia (produced by Jack Douglas), Easter (produced by Jimmy Iovine), which included her top twenty hit Because the Night, co-written with Bruce Springsteen, and Wave (produced by Todd Rundgren).
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Ri Lit R' Itainuir -1171' ' R ' a 1161Nigel Tufneland Davidtst
GAVIN SEMINAR 692 SPECIAL APPEARANCE ri lit r' ITAINUIr -1171' ' r ' a 1161Nigel Tufneland DavidtSt. FIgkiins Spill The The road from he Sun Never Sweats to Sitark Sand ich ta Smell The Glove - ''.4 to Break Like IN Wind 1 It , I' III PLUS INSIDE: Gavin Columnists Eric Norberg Oren Harari,iFthody BosleY f. and Jim Asker , -16. ISSUE 1892 FEBR6ARY 141692 www.americanradiohistory.com n love as in life all that really matters is The Real Thing "There's only one thing you can never give up or compromise on and that's The Real Thing you need in love ." From the inspired new album "Leap Of Faith." Kenny Loggins. The Real Thing. Produced by Kenny Loggins & Terry Nelson. Some songs produced by Kenny Loggins & David Kershenbaum. Management: Alive Enterprises 4 Shep Gordon & Denzyl Feigelson. Columbia Reg. U.S Pat. et Tm. Off. Marco Reglstrada. /O 1992 Sony Music Entertainment Inc. 01991 Cnossos MusC RSCRP /Ur Baal MusC BMnImsterep by Warren iamenlane Puollsaul{ Corp. 10.11 01 0011 resenep use0 CR PBImisa.on. COLUMBIA www.americanradiohistory.com the GAVIN REPORT !1 elfr777-1 * Indicates Tie TOP 40 URBAN RAP MOST ADDED MOST ADDED MOST ADDED ROXETTE AARON HALL THE POETESS Church Of Your Heart (EMI) Don't Be Afraid (Soul /MCA) Love Hurts (Poetic Groove) KATHY TROCCOLI SKYY ARRESTED DEVELOPMENT Everything Changes (Reunion /Geffen) Up And Over (Stronger And Better) (Atlantic) Tennessee (Chrysalis /EMI) STACY EARL TEVIN CAMPBELL CHI ALI Romeo & Juliet (RCA) Goodbye (Owest/Warner Bros.) Age Ain't Nothin But A Number (Relativity) WC & THE MADD CIRCLE
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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.
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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.
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