DOCSLIB.ORG

BAM Presents Brazilian Superstar Marisa Monte in Concert, May 1 & 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BAM Presents Brazilian Superstar Marisa Monte in Concert, May 1 & 2 BAM presents Brazilian superstar Marisa Monte in concert, May 1 & 2 SAMBA NOISE Marisa Monte With special guests Arto Lindsay, Seu Jorge, and more TBA BAM Howard Gilman Opera House (30 Lafayette Ave) May 1 & 2 at 8pm Tickets start at $35 April 8, 2015/Brooklyn, NY—Renowned Brazilian singer/songwriter Marisa Monte makes her BAM debut with two nights of contemporary Brazilian popular music in a show specifically conceived for the BAM Howard Gilman Opera House. The performances feature Monte’s hand-picked band and guest artists. Praised by The New York Times as possessing “one of the most exquisite voices in Brazilian music,” Marisa Monte has been the benchmark for excellence among female singers in Brazil since she burst upon the scene in 1987. As she approaches the 30-year mark of her career, she still commands the same admiration and prestige that greeted her stunning debut. Her 12 CDs and seven DVDs have sold over 10 million copies worldwide and garnered 11 Latin Grammy Award nominations (winning four) and eight Video Music Brazil awards. For her BAM debut, she will perform with artists that are closely associated with her, including American producer/composer Arto Lindsay, Brazilian singer/songwriter/actor Seu Jorge, and others to be announced. About the Artists Born in Rio de Janeiro, the home of samba, Marisa Monte honed her singing skills with operatic training in in Italy. Her work embraces the traditions of MPB (música popular brasileira) and samba within a pop format that is modern and sophisticated. Aside from being a talented composer—she recorded her own work starting with her second album, Mais (EMI-Odeon, 1991), produced by Arto Lindsay—Monte is considered one of the most versatile performers in Brazil. Her voice is equally suited to samba, rock, and tango. Immediately recognized as the greatest Brazilian female singer of her generation from the moment she emerged on the scene on the show Tudo Veludo (1987), followed two years later by the live album MM (EMI Music, 1989), Monte has always known how to renew herself after each album and each performance. She has masterfully managed her career entirely independently of market pressure and tends to leave intervals between the launch of an album and concert tours so that she can calmly work on the aesthetic concept of each endeavor. She has recorded and/or performed live with the greatest names in Brazilian music. Among them are the samba icon Paulinho da Viola and the 1960s MPB movement idol Gilberto Gil. She formed Tribalistas with Arnaldo Antunes and Carlinhos Brown. Their eponymous album in 2002 sold three million copies worldwide and raised the artist’s visibility in the pop world. With more than 10 million albums sold worldwide, Marisa Monte is one of the voices most identified with Brazil on the world music map. It is no coincidence that in August 2012 the artist represented Brazil, along with other high-profile Brazilian personalities, at the closing ceremony of the London Olympics, singing the Aria (Cantilena) from Bachianas Brasileiras no. 5, one of the best-known works by Rio-born composer Heitor Villa-Lobos. Arto Lindsay has stood at the intersection of music and art for more than four decades. As a member of DNA, he contributed to the foundation of the No Wave art scene. As bandleader for the Ambitious Lovers he developed an intensely subversive pop music, a hybrid of American and Brazilian styles. Throughout his career, Lindsay has collaborated with both visual and musical artists, including Vito Acconci, Laurie Anderson, Animal Collective, Matthew Barney, Caetano Veloso, and Rirkrit Tiravanija. He has been involved with carnival in Brazil for many years and began creating parades in 2004. Seu Jorge (née Jorge Mário da Silva) made his first mark as a professional musician in 1998— as a member of band Farofa Carioca. In 2001 he released his first solo album, Samba Esporte Fino. He won the APCA Prize (Saõ Paulo Art Critics Association) for best singer of the year two years running (2003 and 2004). In September 2004 he released CRU in France (through the Naïve label) and in England, winning rave reviews from French and English critics including Rolling Stone, Elle France, and Vogue France. He was hailed as a major new voice of Brazilian music and was invited by BBC to sing alongside the Black Eye Peas and Foo Fighters in Later...with Jools Holland. He also enjoys an active acting career, having played the role of Knockout Ned in the acclaimed film City of God (2002) and the role of Pelé dos Santos in Wes Anderson's The Life Aquatic with Steve Zissou, for which he provided much of the soundtrack in the form of Portuguese-language cover versions of David Bowie classics. For press information, contact David Hsieh at [email protected] or 718.636.4129 x9. Credits Programming in the BAM Howard Gilman Opera House is supported and endowed by The Howard Gilman Foundation. Your tax dollars make BAM programs possible through funding from the City of New York Department of Cultural Affairs and the New York State Council on the Arts. The BAM facilities are owned by the City of New York and benefit from public funds provided through the New York City Department of Cultural Affairs with support from Mayor Bill de Blasio; the New York City Council including Council Speaker Melissa Mark-Viverito, Finance Committee Chair Julissa Ferreras, Cultural Affairs Committee Chair Jimmy Van Bramer, the Brooklyn Delegation of the Council, and Councilwoman Laurie Cumbo; and Brooklyn Borough President Eric Adams. BAM would like to thank the Brooklyn Delegations of the New York State Assembly, Joseph R. Lentol, Delegation Leader; and New York Senate, Senator Velmanette Montgomery, Delegation Leader. General Information BAM Howard Gilman Opera House, BAM Rose Cinemas, and BAMcafé are located in the Peter Jay Sharp building at 30 Lafayette Avenue (between St Felix Street and Ashland Place) in the Fort Greene neighborhood of Brooklyn. BAM Harvey Theater is located two blocks from the main building at 651 Fulton Street (between Ashland and Rockwell Places). Both locations house Greenlight Bookstore at BAM kiosks. BAM Fisher, located at 321 Ashland Place, is the newest addition to the BAM campus and houses the Judith and Alan Fishman Space and Rita K. Hillman Studio. BAM Rose Cinemas is Brooklyn’s only movie house dedicated to first-run independent and foreign film and repertory programming. BAMcafé, operated by Great Performances, offers a dinner menu prior to BAM Howard Gilman Opera House evening performances. BAMcafé also features an eclectic mix of live music for BAMcafé Live on Friday and Saturday nights with a bar menu available starting at 6pm. Subway: 2, 3, 4, 5, Q, B to Atlantic Avenue – Barclays Center (2, 3, 4, 5 to Nevins St for Harvey Theater) D, N, R to Pacific Street; G to Fulton Street; C to Lafayette Avenue Train: Long Island Railroad to Atlantic Terminal – Barclays Center Bus: B25, B26, B41, B45, B52, B63, B67 all stop within three blocks of BAM Car: Commercial parking lots are located adjacent to BAM For ticket information, call BAM Ticket Services at 718.636.4100, or visit BAM.org. ##### .
Load more

Recommended publications
  • Estão Querendo Tirar Meu Nome Do Samba: Benito Di Paula E Sua (Não) Consagração No Campo Da Música Popular Brasileira
    864 ESTÃO QUERENDO TIRAR MEU NOME DO SAMBA: BENITO DI PAULA E SUA (NÃO) CONSAGRAÇÃO NO CAMPO DA MÚSICA POPULAR BRASILEIRA Adelcio Camilo Machado Universidade Estadual de Campinas – UNICAMP Mestrado em Música Etnomusicologia SIMPOM: Subárea de Etnomusicologia Resumo Fruto de uma pesquisa mais ampla de mestrado, ainda em andamento, intitulada “Quem te viu, quem te vê: o sambão-joia da década de 1970”, este texto está centrado na figura de Benito di Paula, procurando entender as peculiaridades de sua inserção no cenário da música popular brasileira durante a referida década. Apesar da grande vendagem de seus discos entre os anos de 1974, quando se deu sua primeira aparição nas pesquisas de discos mais vendidos, e o final da década, atingindo números comparáveis aos de outros sambistas que conseguiram se consagrar no campo da MPB como Martinho da Vila, Paulinho da Viola e Clara Nunes, nota-se que Benito não é considerado pela historiografia da música popular brasileira como um importante representante do samba ou da MPB, sendo normalmente esquecido pela bibliografia ou pela discografia destes segmentos musicais. Portanto, através da análise de um dos primeiros sucessos de Benito, a canção “Retalhos de cetim”, gravada em seu LP “Um novo samba” de 1974, composta e interpretada por ele, buscaremos perceber algumas características de seu estilo enquanto cancionista, procurando identificar a presença de elementos alheios à tradição consagrada do samba ou da MPB, compreendendo de que maneira isso pode influenciar no grau de consagração artística alcançado por Benito. Com isso, mais do que estudar a obra deste sambista em específico, este texto pode contribuir para que melhor se entenda o campo da música popular brasileira durante a década de 1970, refletindo sobre questões como tradição, memória e lutas simbólicas.
    [Show full text]
  • [email protected] Katia Moraes
    For Immediate Release Contact: Marcia Argolo Phone: (818) 621-1515 Email: [email protected] Katia Moraes & Brazilian Heart Music Presents ELIS, A CELEBRATION SATURDAY, JANUARY 21 at 7pm @ Brasil Brasil Cultural Center www.katiamoraes.com "It's a shame Elis Regina never appeared in the USA. She was the greatest, my favorite singer ever. All that power and emotion and incredibly expressive phrasing. Had she toured here even once they'd still be talking about her." Brick Wahl, LA Weekly “ELIS, A CELEBRATION” is a tribute to one of Brazil’s greatest and most influential singers. “Elis & Tom,” recorded in Los Angeles in 1974 with the master of modern Brazilian popular music, Antonio Carlos (Tom) Jobim is considered one of the top ten Brazilian records of all time. Her extraordinary expressive voice and incredible sense of rhythm mixed with a controversial personality was cut short when she died tragically in January 1982 of a combination of cocaine and alcohol. Elis began her career in the 1960’s during the dictatorship and helped launch the career of composers Milton Nascimento, Ivan Lins, João Bosco, Aldir Blanc, Tim Maia, Gilberto Gil, Chico Buarque, and many more. Singers Marisa Monte, Leila Pinheiro and Daniela Mercury site Elis as a strong influence in their music. Among her 31 recordings between 1961 and 1982 are the extremely popular three live records (Dois na Bossa) with singer Jair Rodrigues. “Elis, a Celebration” hopes to enrich the knowledge of an audience who wants to discover what Brazil is all about. The night will mix live music with a slide show, video screening and a photo exhibition by photographer Jorge Vismara.
    [Show full text]
  • A Palavra-Corpo E a Performance Poética Em Arnaldo Antunes Naldo
    A palavra-corpo e a performance poética em Arnaldo Antunes A ndré Gardel obra de Arnaldo Antunes vem trazendo poeta paulista contemporâneo não é mais um para o universo da cultura de massas, de epígono dos concretos; sua postura estética é, modo sistemático e com grande poder na verdade, pós-concreta, aponta para um novo inventivo, elementos expressivos que fin- rumo a partir do movimento, assim como os cam raízes em algumas das mais impor- três líderes iniciais do concretismo renovaram- tantesA experimentações de vanguarda do século se seguindo caminhos posteriores particulares e XX. Não que tais trocas, intercâmbios e livres revitalizantes. Mas a base é uma só: o instru- usos não ocorram, com certa freqüência, entre mental lingüístico e semiótico; a inserção da essas instâncias culturais; antes, pelo contrário, escrita ideogramática na escrita alfabética, que podemos dizer que fazem parte de seus proces- incorpora a estrutura analógica à lógica dis- sos constitutivos comuns, das origens à atuali- cursiva ocidental, subvertendo sintaxes, núcle- dade, particulares mesmo de suas configurações os vocabulares; a pesquisa gráfica e caligráfica abertas e permeáveis. E, muito menos ainda, revitalizando o verbal; a contaminação multi- que outros artistas brasileiros tão inventivos meios; a poesia visual de fundo cronstrutivista; quanto Arnaldo, dentro da música popular, no a proesia; a busca isomórfica de significação en- Brasil, não tenham feito semelhante aproxima- tre signo verbal e referente, similaridades fônicas ção e interferência de códigos culturais. O que e ambigüidades semânticas etc. Base que é solo salta aos olhos e diferencia a sua produção nutritivo para outras notas e atitudes entrarem multimídia, é a manutenção e continuidade, e se desenvolverem.
    [Show full text]
  • Cazuza: Música, Poesia E Spleen
    Cazuza: música, poesia e spleen Leandro Garcia Rodrigues O recente sucesso do filme Cazuza O Tempo não Pára tem despertado inúmeras críticas e debates; Cazuza, que foi uma espécie de ícone para a sua geração, estava sendo apresentado para outros jovens que o conheciam insuficientemente através de uma ou outra canção tocada nas rádios ou em coletâneas. Para outros parceiros da época do artista pareceu mesmo que o tempo tinha voltado através das músicas e dos cenários que tão bem reconstituíram aqueles anos. Os anos 80 As avaliações acerca da década de 80 já fazem parte de acalorados debates e tentativas de se estabelecer em conceitos interpretativos sobre essa época. A Geração Coca-Cola, para usar uma expressão de Renato Russo, cada vez mais é colocada no divã desesperado dos analistas culturais; todos têm demonstrado uma certa unanimidade em reconhecer sua principal característica: a de ser um gap, ou seja, um espaço vazio e paradoxalmente produtivo, tenso em suas experimentações estilísticas, o que poderia ser comparado, respeitando-se os limites, à idéia do entre-lugar defendida por Silviano Santiago anos antes. É neste espaço, aparentemente vazio ideologicamente, que vemos surgir, de forma sintomática, inúmeras manifestações artísticas, particularmente o Rock Brasil. Testemunha pessoal da Ditadura, essa geração viu florescer um ardor de liberdade iniciado com a abertura da Anistia, em 1979, e com o movimento das Diretas Já, em 1984. A primeira eleição presidencial após o Regime de 64 coincidiu com o próprio Rock in Rio I, o ano era 1985 e já antes a empolgação do “poder jovem” podia ser observada, que o diga o showmício de Leonel Brizola, realizado pelo Barão Vermelho em 1982.
    [Show full text]
  • Antagonism and Relational Aesthetics Author(S): Claire Bishop Source: October, Vol
    Antagonism and Relational Aesthetics Author(s): Claire Bishop Source: October, Vol. 110 (Autumn, 2004), pp. 51-79 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/3397557 Accessed: 19/10/2010 19:54 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October. http://www.jstor.org Antagonism and Relational Aesthetics CLAIRE BISHOP The Palais de Tokyo On the occasion of its opening in 2002, the Palais de Tokyo immediately struck the visitor as different from other contemporary art venues that had recently opened in Europe.
    [Show full text]
  • No Rastro Da Seca: Trajetória Da Vida Nordestina, Da Literatura
    Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação V Congresso Nacional de História da Mídia – São Paulo – 31 maio a 02 de junho de 2007 No Rastro da Seca: trajetória da vida nordestina, da literatura para o vídeo, traçando paralelos entre o clipe Segue o Seco e as obras Morte e Vida Severina e Vidas Secas. 1 Autor: Érica Renata Gonçalves 2 Universidade Metodista de São Paulo. Resumo O presente artigo tem como principal objetivo estabelecer paralelos entre o vídeo clipe Segue o Seco , de Marisa Monte, e as obras literárias Morte e Vida Severina , de João Cabral de Mello Neto, e Vidas Secas , de Graciliano Ramos. Apesar de não haver informação sobre a inspiração dos diretores da obra audiovisual, Cláudio Torres e José Henrique Fonseca, nas obras literárias, as semelhanças são visíveis e por isso esta comparação se faz pertinente. Palavras-Chave: Comunicação, Televisão, Música, Vídeo Clipe, Literatura Abstract This paper intend to estabilish a parallel among the video clip Segue o Seco , by Marisa Monte and the books Morte e Vida Severina, by João Cabral de Mello Neto and Vidas Secas, by Graciliano Ramos. Although there is no information about a inspiration by the book of the vídeo directors, Claudio Torres e José Henrique Fonseca, the similarity is very perceptible and because of that this comparison become pertinent. Key Words – Communication, Television, Music, Video Clip, Literature 1 : Trabalho apresentado ao GT Audiovisual, do V Congresso Nacional de História da Mídia, Facasper e Ciee, São Paulo, 2007. 2 Formação acadêmica em Comunicação – Jornalismo; especialização em Língua e Literatura pela Universidade Metodista de São Paulo; mestranda em Comunicação Social pela Universidade Metodista de São Paulo, orientada pela Profª Drª Sandra Lúcia Reimão.
    [Show full text]
  • Minister of Counterculture
    26 Guardian Weekly December 23 2005-January 5 2006 Culture Gilberto Gil is a musical legend - and now a senior Brazilian politician. He tz Minister of counterculture Gilberto Gil wears a sober suit and tie these days, and his dreadlocks are greying at the temples. But you soon remember that, as well as the serving culture minister of Brazil, you are in the presenceof one of the biggest l,atin American musicians of the 60s and 70s when you ask him about his intellectual influences and he cites Timothy l,eary. "Oh, yeah!" Gil says happily, rocking back in his chair at the Royal SocietyoftheArts in London. "Forexam- ple, all those guys at Silicon Valley - they're all coming basically from the psychedelic culture, you know? The brain-expanding processesof the crystal had a lot to do with the internet." Much as it may be currently de rigueur for journalists to ask politicians whether or not they have smoked marijuana, the question does not seem worth the effort. Gil's constant references to the hippy counterculture are not simplythe nostalgia of a 63-year-old with more than 4O albums to his name. For several years now, largely under the rest of the world's radar, the Braeilian government has been building a counterculture ofits own. The battlefield has been intellectual property - the ownership ofideas - and the revolution has touched everything, from internet file- sharing to GM crops to HIV medication. Phar- maceutical companies selling patented Aids drugs, for example, were informed that Brazil would simply ignore their claims to ownership and copy their products more cheaply if they didn't offer deep discounts.
    [Show full text]
  • Redalyc.Identidade, Cultura E Música Em Brasília
    Ciências Sociais Unisinos ISSN: 1519-7050 [email protected] Universidade do Vale do Rio dos Sinos Brasil Paiva Carvalho, Guilherme Identidade, cultura e música em Brasília Ciências Sociais Unisinos, vol. 51, núm. 1, enero-abril, 2015, pp. 10-18 Universidade do Vale do Rio dos Sinos São Leopoldo, Brasil Disponível em: http://www.redalyc.org/articulo.oa?id=93838249003 Como citar este artigo Número completo Sistema de Informação Científica Mais artigos Rede de Revistas Científicas da América Latina, Caribe , Espanha e Portugal Home da revista no Redalyc Projeto acadêmico sem fins lucrativos desenvolvido no âmbito da iniciativa Acesso Aberto Ciências Sociais Unisinos 51(1):10-18, janeiro/abril 2015 © 2015 by Unisinos - doi: 10.4013/csu.2015.51.1.02 Identidade, cultura e música em Brasília Identity, culture and music in Brasília Guilherme Paiva Carvalho1 [email protected] Resumo O presente trabalho analisa a relação entre identidade e música em Brasília no final da década de 1990, dando ênfase para o mercado independente. Na década de 1980, Brasília tornou-se conhecida no país como a capital do rock. No entanto, desde a inauguração da cidade, outros estilos musicais predominam na capital, como o choro, o samba, o forró nordestino e o reggae. O estudo destaca a diversidade cultural existente na cidade no campo da música e relaciona a identidade musical em Brasília com o conceito de multiculturalismo. Palavras-chave: música, identidade, cultura. Abstract This research analyzes the relation between identity and music in Brasília in the late 1990s, emphasizing the independent market. In the 1980s, Brasilia became known as the national capital of rock.
    [Show full text]
  • From the Streets of Candeal to the Stages of the World
    CARLINHOS BROWN From the streets of Candeal to the stages of the world. Antônio Carlos Santos de Freitas, or simply Carlinhos Brown, was born in the Candeal Pequeno neighborhood in Salvador, Bahia, Brazil. Brown is one of the most creative, active, and innovative artists in today’s Brazilian music scene. The multi-talented singer, instrumentalist, producer, arranger, and cultural activist began his career as a percussionist. Extremely connected to Afro-Brazilian culture and carnival in Bahia, Brown has always been of the most prolific producers of themes for trios elétricos during Carnival. Various songs by Brown have been anthems for Carnival in Salvador, such as “Dandalunda,” interpreted by Margareth Menezes, and “Rapunzel,” recorded by Daniela Mercury. Brown’s compositions have inspired many other MPB (Brazilian Pop Music) artists such as Maria Bethânia, Gal Costa, Caetano Veloso, Marisa Monte, Nando Reis, Cássia Eller, Herbert Vianna, and even the heavy metal band Sepultura have all recorded songs composed by Carlinhos Brown. In the midst of the eighties, when the musical climate was exploding with innovation and creativity, Brown created various groups that used music as a way to educate and teach social awareness and non-violence to the youth of Salvador, especially in the neighborhood where he grew up, Candeal Pequeno de Brotas. Such groups include: “Via Quem Vem”; Bolacha Maria, a female percussion group; Lactomia, which brought together underprivileged children from Candeal who made their own instruments from recycled material; in addition to Timbalada; and more recently the group Hip Hop Roots, who under Brown’s guidance, have reinvented playing the surdo drum, and the group Candombless, who combines the sacred songs and rhythms of the Candomble terreiros with popular and electronic music to create an entirely new sound.
    [Show full text]
  • Actualisation of Space: the Case of Oda Projesi
    10 2004 Actualisation of Space: The Case of Oda Projesi Maria Lind A long, high­ceilinged room with small trees in boxes in the middle. The walls are punctuated by doors and windows, on all three storeys of the building. Here and there shoes are outside the doors and you glimpse curtains through the windows. One or two pushchairs are parked beside the shoes. Daylight floods the space through a glass ceiling and also filters it through the glass on the short sides of the room. If it weren't for the shoes and the pushchairs you might think of a hospital, or even an American­style prison. In the middle of the room a group of men play Turkish music on instruments, others dance. A little girl, dressed in yellow, attracts attention to herself as she dances an elegant solo. Tinkles of laughter. Suddenly a roll of paper is dropped from a balcony, winding down like a great snake, and some children begin to draw on it. The location is a passage and a gathering place in Galeriahaus, a block of flats in Messestadt Riem in the outskirts of Munich. The occasion is one of many modest events that Oda Projesi organised during their visit there in spring 2003. Just as the name indicates ('oda' means room/space and 'projesi' project in Turkish), the point of departure of Oda Projesi's work is space; how one can create and recreate different places and spatial situations through using them in a number of different ways. For example, how, together with various groups of people, can you find new functions for a public space such as a square? Or an empty space in a flat? Or an architect­designed passage like the atrium in Galeriahaus, which was closed by the authorities to non­residents and forbidden as a play area? The three artists, Özge Acikkol, Gunes Savas and Secil Yersel, have been working together since 1997.
    [Show full text]
  • Towards a Politics of (Relational) Aesthetics by Anthony Downey
    This article was downloaded by: [Swets Content Distribution] On: 8 February 2009 Access details: Access Details: [subscription number 902276281] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Third Text Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713448411 Towards a Politics of (Relational) Aesthetics Anthony Downey Online Publication Date: 01 May 2007 To cite this Article Downey, Anthony(2007)'Towards a Politics of (Relational) Aesthetics',Third Text,21:3,267 — 275 To link to this Article: DOI: 10.1080/09528820701360534 URL: http://dx.doi.org/10.1080/09528820701360534 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Third Text, Vol. 21, Issue 3, May, 2007, 267–275 Towards a Politics of (Relational) Aesthetics Anthony Downey 1 The subject of aesthetics The aesthetic criteria used to interpret art as a practice have changed and art criticism has been radically since the 1960s.
    [Show full text]
  • Some Notes on John Zorn's Cobra
    Some Notes on John Zorn’s Cobra Author(s): JOHN BRACKETT Source: American Music, Vol. 28, No. 1 (Spring 2010), pp. 44-75 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/americanmusic.28.1.0044 . Accessed: 10/12/2013 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org This content downloaded from 198.40.30.166 on Tue, 10 Dec 2013 15:16:53 PM All use subject to JSTOR Terms and Conditions JOHN BRACKETT Some Notes on John Zorn’s Cobra The year 2009 marks the twenty-fifth anniversary of John Zorn’s cele- brated game piece for improvisers, Cobra. Without a doubt, Cobra is Zorn’s most popular and well-known composition and one that has enjoyed remarkable success and innumerable performances all over the world since its premiere in late 1984 at the New York City club, Roulette. Some noteworthy performances of Cobra include those played by a group of jazz journalists and critics, an all-women performance, and a hip-hop ver- sion as well!1 At the same time, Cobra is routinely played by students in colleges and universities all over the world, ensuring that the work will continue to grow and evolve in the years to come.
    [Show full text]