DOCSLIB.ORG

Download Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Thesis This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Raising pure hell a general theory of articulation, the syntax of structural overdetermination, and the sound of social movements Peterson II, Victor Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 04. Oct. 2021 RAISING PURE HELL a general theory of Articulation, the syntax of structural overdetermination, and the sound of social movements by Victor Peterson II dissertation presented for the degree of Doctor of Philosophy King’s College, London 2018 Acknowledgements Meaning is made, value taken. Much is owed to those who have made meaning full during the process of articulating these thoughts. I am grateful to my supervisor Paul Gilroy for his tireless assistance and guidance in completing this project. Thank you for taking a chance on me. A thank you to the faculty of the Arts Politics Department at New York University. To my Wednesday Group, our working sessions proved most useful. To my comrades in the Virginia Woolf building at King’s College—thank you for providing on that 6th floor the warmth required for a long stay in London. Thank you to my family, core and extended. Truthfully speaking, what is the difference between the two? Family is family and not another thing. Thank you to everyone whose voices, brilliance, and encouragement can be read in many a sentence of this dissertation. Finally, thank you to those sons of Philadelphia, Pure Hell, after whose music and ethos this thesis is named. Thank you for showing me that blackness is no one thing, that it can be any thing, and for imagining that subject as a resounding yes so many years ago. Dedicated to all Undead Youth, ever rising from the grave. To the memory of Louise “Gran” Marshall, Randy Martin, and Adam Jackson. To these and others we’ve lost and promises made, we did it. To Frenchie. To 13th and York, and to Philadelphia. Abstract What follows answers a call made by cultural theorist Stuart Hall from the Centre for Contemporary Cultural Studies to formalize a “mechanism of articulation” for the study of race, ethnicity, and social movements. A mechanism is developed alongside a syntactic structure towards developing this general theory of Articulation. Articulation is formalized so as to be applied to the study of particular historical conditions without losing its analytic power to account for contemporary states of affairs. To do so, this thesis explores an encounter between youth and subcultural movements. The method developed is employed to provide an alternative approach and a historical basis to a particular mode of engaging with the field of Black Studies. Afro-pessimism, as set out by Orlando Patterson (1982) and through one of its most recent architects Frank B. Wilderson III (2009) supposes blackness as comprised of an absolute or universally total nihilism. The Pessimist forwards the impossibility of blackness' contravening its subordination. This line grounds a philosophical and political perspective forwarded by Jared Sexton (2011) and others in what Sexton calls "The Social Life of Social Death." I attend to problems raised by Afro-Pessimism—Black identity’s operation out of a cultural and, therefore, political death—which renders the formation of social movements to counter structural overdetermination and subordination impossible. In challenging Identity theory, we reveal the Pessimist’s position as internally contradictory. Taking as its case study Black subjectivity's articulation through punk—a musical and cultural form said to be devoid of an inner logic or mechanism for creating and expressing thought—the theory developed in this thesis secures a generative syntax for forms of Black expression. It provides an alternative method to the study of other subjects and movements as well as interrogates the political economy constituting various states of affairs as it pertains to Black study. This project firstly illustrates the syntax and assertability conditions of an articulatory mechanism. Next, it explores textual evidence relating Black literary expression's tie to music in order to demonstrate musical expression as a product of this mechanism for creating thought; thus, a capacity expressing subjectivity outside of identity constraints. Then, we situate our articulatory mechanism within a set of historical conditions in which the initial call for and our formulation of this formal treatment was in response. Finally, we explore the implications of the application of this formal articulatory mechanism to further Black studies and the analysis of social movements. The schema developed in this study represents an inquiry into how Black subjectivity articulates its agency in the world through punk. As a form of expression less ready and violent to the idea of being dispossessed of its agency or incorporated into a mainstream value system, punk modes of articulation lend themselves to the study of the formation of subjectivity outside of strict identification within a predetermined frame of reference. Black expressive capacity through punk is a prime subject to complicate an essentialized concept of “Black”-ness. Traditionally, the question of articulation and existence is formulated within the context of an entity whose very being questions the categories of that state of affairs. As a matter of syntax, negation cannot proceed modality. Syntactically, although we can express both, we understand "---may not . ." as valid but, "---not may . ." as unintelligible. Through this demonstration alone, the work of this thesis proves the negative existential predicated of blackness by the Pessimist as incorrect. 1 Table of Contents INTRODUCTION ...........................................................................................................5 THE THEORY OF ARTICULATION.......................................................................... 18 THE SINGING BOOK .................................................................................................. 85 THE ELECTRIC CHURCH ....................................................................................... 119 REARTICULATION .................................................................................................. 184 BIBLIOGRAPHY ....................................................................................................... 233 APPENDIX I ............................................................................................................... 245 APPENDIX II: Articulation Mechanism Proof ........................................................... 259 APPENDIX III: Pied-Piping, Subject Continuity, and Rearticulation ........................ 264 APPENDIX IV: Calculating Overdetermination ......................................................... 273 2 “Music, as paradoxical as it might seem, is the result of thought. It is the result of thought perfected at its most empirical, i.e., as attitude, or stance.” - LeRoi Jones, Blues People “Punks are niggers” - Richard Hell of The Voidoids and Television to New Musical Express, 1977 3 Note regarding methodological approach: This thesis unfolds on two independent yet not mutually exclusive levels. There is the main text, which can be read on its own. The second level utilizes appendices that offer an outline of the arguments developed in each chapter, along with a qualification of the technical terms employed to illustrate the inner logic of our articulatory mechanism. Appendices act as a supplement to the text and are not necessary to reading the overall argument; however, they do provide the syntax and engine to the articulation process producing the method implemented throughout this project. 4 INTRODUCTION - Ludwig Wittgenstein. Culture and Value The passage above does not have a phonetic form but nonetheless exhibits a deep structure, a syntax and logical form, indicative of a capacity to create thought. The musical sequence above does not refer to any “physical” fact. These chords cannot be physically whistled. Just as the predicate “physically” is used above, the notation can only approximate the subject of the song. Wittgenstein meant to whistle this tune, “I destroy, I destroy, I destroy . .,” the articulation of which would mark the destruction of its own grammar. This project is on blackness—and punk. It is to propose
Load more

Recommended publications
  • Surround Sound Auteurs and the Fragmenting of Genre
    Alan Williams: Surround Sound Auteurs and the Fragmenting of Genre Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi Williams, A. (2019). Surround Sound Auteurs and the Fragmenting of Genre. In J.-O. Gullö (Ed.), Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi (pp. 319-328). Stockholm: Royal College of Music (KMH) & Art of Record Production. Alan Williams: Surround Sound Auteurs and the Fragmenting of Genre Abstract Multi-channel sonic experience is derived from a myriad of technological processes, shaped by market forces, configured by creative decision makers and translated through audience taste preferences. From the failed launch of quadrophonic sound in the 1970s, through the currently limited, yet sustained niche market for 5.1 music releases, a select number of mix engineers and producers established paradigms for defining expanded sound stages. Whe- reas stereophonic mix practices in popular music became ever more codified during the 1970s, the relative paucity of multi-channel releases has preserved the individual sonic fingerprint of mixers working in surround sound. More- over, market forces have constricted their work to musical genres that appeal to the audiophile community that supports the format. This study examines the work of Elliot Scheiner, Bob Clearmountain, Giles Martin, and Steven Wilson to not only analyze the sonic signatures of their mixes, but to address how their conceptions of the soundstage become associated with specific genres, and serve to establish micro-genres of their own. I conclude by ar- guing that auteurs such as Steven Wilson have amassed an audience for their mixes, with a catalog that crosses genre boundaries, establishing a mode of listening that in itself represents an emergent genre – surround rock.
    [Show full text]
  • UW System Requests $30 Surcharge
    Inside Block that sun P.3 Yoko is surprise P.4 Women's buckets win opener * .. P.5 Unique gift guide special insert Vol. 25, NO. 30, December 2,1980 UW System requests $30 surcharge by James E. Piekarski not seek a general tax increase when the The letter also cited the "uncertain­ ofThePoststaff legislature reconvenes in January. ties" caused by litigation challenging the 4.4 percent budget cutback to muni­ The UW Board of Regents is expected Committee referral cipalities and school districts. The State to approve a $30 surcharge for the second If the Regents approve the $30 sur­ Supreme Court has ordered the return semester at its meeting this week, ac­ charge, it must then be approved by Of almost $18 million to municipali­ cording to UW System Vice President the legislature's Joint Committee on ties, and the school district case, which Reuben Lorenz. Finance. At a November meeting, the seeks the return of $29 million, is still The surcharge, which would raise tui­ Regents approved a resolution, with only pending. - tion for a semester to $516 for a full- one objection, that authorized UW Sys­ Chancellor Frank Horton, who will time resident undergraduate student, is tem President Robert O'Neil to file a attend the Board of Regents meeting in based on the anticipation of no further request with the Joint Committee on Madison on Thursday and Friday, said budget cutbacks, despite the state's wor­ Finance for the surcharge by its Nov. that based on the experience of the first sened financial forecast for the biennium 10 deadline.
    [Show full text]
  • Dissertation
    DISSERTATION Titel der Dissertation “We’re Punk as Fuck and Fuck like Punks:”* Queer-Feminist Counter-Cultures, Punk Music and the Anti-Social Turn in Queer Theory Verfasserin Mag.a Phil. Maria Katharina Wiedlack angestrebter akademischer Grad Doktorin der Philosophie (Dr. Phil.) Wien, Jänner 2013 Studienkennzahl lt. Studienblatt: A 092 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin / Betreuer: Univ. Prof.in Dr.in Astrid Fellner Earlier versions and parts of chapters One, Two, Three and Six have been published in the peer-reviewed online journal Transposition: the journal 3 (Musique et théorie queer) (2013), as well as in the anthologies Queering Paradigms III ed. by Liz Morrish and Kathleen O’Mara (2013); and Queering Paradigms II ed. by Mathew Ball and Burkard Scherer (2012); * The title “We’re punk as fuck and fuck like punks” is a line from the song Burn your Rainbow by the Canadian queer-feminist punk band the Skinjobs on their 2003 album with the same name (released by Agitprop Records). Content 1. Introduction .......................................................................................................... 1 2. “To Sir With Hate:” A Liminal History of Queer-Feminist Punk Rock ….………………………..…… 21 3. “We’re punk as fuck and fuck like punks:” Punk Rock, Queerness, and the Death Drive ………………………….………….. 69 4. “Challenge the System and Challenge Yourself:” Queer-Feminist Punk Rock’s Intersectional Politics and Anarchism……...……… 119 5. “There’s a Dyke in the Pit:” The Feminist Politics of Queer-Feminist Punk Rock……………..…………….. 157 6. “A Race Riot Did Happen!:” Queer Punks of Color Raising Their Voices ..……………..………… ………….. 207 7. “WE R LA FUCKEN RAZA SO DON’T EVEN FUCKEN DARE:” Anger, and the Politics of Jouissance ……….………………………….………….
    [Show full text]
  • Table of Contents
    Table of Contents From the Editors 3 From the President 3 From the Executive Director 5 The Sound Issue “Overtures” Music, the “Jew” of Jewish Studies: Updated Readers’ Digest 6 Edwin Seroussi To Hear the World through Jewish Ears 9 Judah M. Cohen “The Sound of Music” The Birth and Demise of Vocal Communities 12 Ruth HaCohen Brass Bands, Jewish Youth, and the Sonorities of a Global Perspective 14 Maureen Jackson How to Get out of Here: Sounding Silence in the Jewish Cabaretesque 20 Philip V. Bohlman Listening Contrapuntally; or What Happened When I Went Bach to the Archives 22 Amy Lynn Wlodarski The Trouble with Jewish Musical Genres: The Orquesta Kef in the Americas 26 Lillian M. Wohl Singing a New Song 28 Joshua Jacobson “Sounds of a Nation” When Josef (Tal) Laughed; Notes on Musical (Mis)representations 34 Assaf Shelleg From “Ha-tikvah” to KISS; or, The Sounds of a Jewish Nation 36 Miryam Segal An Issue in Hebrew Poetic Rhythm: A Cognitive-Structuralist Approach 38 Reuven Tsur Words, Melodies, Hands, and Feet: Musical Sounds of a Kerala Jewish Women’s Dance 42 Barbara C. Johnson Sound and Imagined Border Transgressions in Israel-Palestine 44 Michael Figueroa The Siren’s Song: Sound, Conflict, and the Politics of Public Space in Tel Aviv 46 Abigail Wood “Surround Sound” Sensory History, Deep Listening, and Field Recording 50 Kim Haines-Eitzen Remembering Sound 52 Alanna E. Cooper Some Things I Heard at the Yeshiva 54 Jonathan Boyarin The Questionnaire What are ways that you find most useful to incorporate sound, images, or other nontextual media into your Jewish Studies classrooms? 56 Read AJS Perspectives Online at perspectives.ajsnet.org AJS Perspectives: The Magazine of President Please direct correspondence to: the Association for Jewish Studies Pamela Nadell Association for Jewish Studies From the Editors perspectives.ajsnet.org American University Center for Jewish History 15 West 16th Street Dear Colleagues, Vice President / Program New York, NY 10011 Editors Sounds surround us.
    [Show full text]
  • Lisa Mansell Cardiff, Wales Mav 2007
    FORM OF FIX: TRANSATLANTIC SONORITY IN THE MINORITY Lisa Mansell Cardiff, Wales Mav 2007 UMI Number: U584943 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584943 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 For 25 centuries Western knowledge has tried to look upon the world. It has failed to understand that the world is not for beholding. It is for hearing [...]. Now we must learn to judge a society by its noise. (Jacques Attali} DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted in candidature fof any degree. Signed r?rrr?rr..>......................................... (candidate) Date STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree o f ....................... (insert MCh, Mfo MPhil, PhD etc, as appropriate) (candidate) D ateSigned .. (candidate) DateSigned STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources aite acknowledged by explicit references. Signed ... ..................................... (candidate) Date ... V .T ../.^ . STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations.
    [Show full text]
  • Doing Sound Slaten Dissertation Deposit
    Doing Sound: An Ethnography of Fidelity, Temporality and Labor Among Live Sound Engineers Whitney Slaten Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Whitney Slaten All rights reserved ABSTRACT Doing Sound: An Ethnography of Fidelity, Temporality and Labor Among Live Sound Engineers Whitney Slaten This dissertation ethnographically represents the work of three live sound engineers and the profession of live sound reinforcement engineering in the New York City metropolitan area. In addition to amplifying music to intelligible sound levels, these engineers also amplify music in ways that engage the sonic norms associated with the pertinent musical genres of jazz, rock and music theater. These sonic norms often overdetermine audience members' expectations for sound quality at concerts. In particular, these engineers also work to sonically and visually mask themselves and their equipment. Engineers use the term “transparency” to describe this mode of labor and the relative success of sound reproduction technologies. As a concept within the realm of sound reproduction technologies, transparency describes methods of reproducing sounds without coloring or obscuring the original quality. Transparency closely relates to “fidelity,” a concept that became prominent throughout the late nineteenth, twentieth, and twenty-first centuries to describe the success of sound reproduction equipment in making the quality of reproduced sound faithful to its original. The ethnography opens by framing the creative labor of live sound engineering through a process of “fidelity.” I argue that fidelity dynamically oscillates as struggle and satisfaction in live sound engineers’ theory of labor and resonates with their phenomenological encounters with sounds and social positions as laborers at concerts.
    [Show full text]
  • Punk and Its Afterlives Introduction
    Punk and Its Afterlives Introduction Jayna Brown, Patrick Deer, and Tavia Nyong’o Why punk? And why now? Surely those questions have as many answers as there are teenage bedrooms, suburban garages, and rock clubs with a lax or exploitative booking policy. Punk itself at this point needs little introduction: the museums, music retailers, bookstores, and documentary film channels groan under the weight of its archive. More challenging, at least to some, is the case for punk music as a continuing contributor to our political moment. Assuredly, a certain patina of respectability has settled around punk at middle age. Punk memoirs have been wreathed in Pulitzers, and punk musicals have made it to Broadway. Vivienne Westwood is in the V&A and stores in Los Angeles as well as London’s Chelsea, and the Sex Pistols — willing or not — are in the Rock and Roll Hall of Fame. Collectors, profiteers, and eBay aficionados hound punk’s vinyl and tape- recorded traces to the four corners of the globe, and digi- tal trainspotters are diligently uploading every scrap of footage they can find. Young twenty- first- century radicals immersed in the anarchist and DIY ethos of movements like Occupy may roll their eyes skeptically at historical punk, even while punk as an ongoing, autonomous, interna- tional subculture rolls on.1 But if punk can never quite give up the ghost, perhaps that’s because we are still trawling through the political and eco- nomic wreckage that prompted its emergence in the first place, whether we locate its much- disputed origins in Detroit in the late 1960s, New York in the early to mid- 1970s, or London and a score of British cities in 1975 – 1977.
    [Show full text]
  • Robert Quine Page 1 of 1 6/14/2004
    Page 1 of 1 Robert Quine (Filed: 14/06/2004) Robert Quine, who has died aged 61, was acknowledged to be one of the most original and formidably talented guitarists in rock music; a founder member of American punk band The Voidoids, he later worked with Lou Reed, Tom Waits, Lloyd Cole and Brian Eno. At first glance, Bob Quine appeared an unlikely punk. A nephew of the philosopher W V Quine, he was a tax lawyer until his mid-thirties, by which time he was already nearly bald. Even at the height of his success, he took to the stage in a well-ironed shirt and black sports jacket, his only concession to attitude being the wearing of sunglasses. Equally out of keeping with punk's ethos was his command of his instrument, from which he produced an intense, aggressive, dissonant sound. Lou Reed acclaimed him as "a magnificent guitar player . an innovative tyro of the vintage beast". His skills are best preserved on Blank Generation, the album he recorded with Richard Hell in 1977. Having renounced the law, he was then working in a Greenwich Village bookshop with Hell and Tom Verlaine, both members of the proto-punk group Television. Hell, having fallen out with Verlaine and later with Johnny Thunders of The Heartbreakers, which he had gone on to join, put together a new band with Quine, Ivan Julian and Marc Bell (later of The Ramones) - The Voidoids. Quine coaxed suitably angry sounds from his Stratocaster to frame Hell's nihilistic yet purposeful lyrics, and the LP - especially its title track - became an underground success.
    [Show full text]
  • SXSW 2011 Showcasing Artists 1135 Songs, 3 Days, 6.61 GB
    Page 1 of 33 SXSW 2011 Showcasing Artists 1135 songs, 3 days, 6.61 GB Name Time Album Artist 1 ready & willing 4:59 SXSW 2011 Showcasing Artists Above All 2 Right Now 3:15 SXSW 2011 Showcasing Artists AC and DELL 3 When Your Love Is Safe 4:27 SXSW 2011 Showcasing Artists Active Child 4 Smile for me, Sun 3:54 SXSW 2011 Showcasing Artists Adam & Alma 5 She Comes To Me 4:37 SXSW 2011 Showcasing Artists Adam Arcuragi & The Lupine Cho… 6 Sound The Alarn 4:37 SXSW 2011 Showcasing Artists Adept 7 Squealing Pigs 3:22 SXSW 2011 Showcasing Artists Admiral Fallow 8 I'm Alright 3:41 SXSW 2011 Showcasing Artists Agent Ribbons 9 No Nostalgia 3:24 SXSW 2011 Showcasing Artists AgesandAges 10 Vampire 4:22 SXSW 2011 Showcasing Artists Ahoora 11 Nail Biter 3:43 SXSW 2011 Showcasing Artists Aislyn 12 Get Yourself Free 4:23 SXSW 2011 Showcasing Artists Akina Adderley & The Vintage Pl… 13 Jackpot 3:41 SXSW 2011 Showcasing Artists The Albertans 14 Smile 4:44 SXSW 2011 Showcasing Artists The Alchemist 15 My Eyes To See 4:08 SXSW 2011 Showcasing Artists Alcoholic Faith Mission 16 The Robot 2:46 SXSW 2011 Showcasing Artists Alessi's Ark 17 Buy Me 2:21 SXSW 2011 Showcasing Artists Alex Khoury 18 Down The Drain 3:13 SXSW 2011 Showcasing Artists Alexis Foxe 19 An Iris 3:33 SXSW 2011 Showcasing Artists All Tiny Creatures 20 Late Bloomer 4:11 SXSW 2011 Showcasing Artists Allie Moss 21 Patience Is Strength 3:30 SXSW 2011 Showcasing Artists Alvarez Kings 22 Dark Into Light 3:54 SXSW 2011 Showcasing Artists AM & Shawn Lee 23 Swimmer, Dreams Don't Keep 3:09 SXSW 2011 Showcasing Artists Amanda Shires 24 After It Breaks 3:27 SXSW 2011 Showcasing Artists Amber Digby & Midnight Flyer 25 Le Kick 2:50 SXSW 2011 Showcasing Artists American Fangs 26 Mr.
    [Show full text]
  • 1 2 | Lonestarmusic Lonestarmusic | 3
    LoneStarMusic | 1 2 | LoneStarMusic LoneStarMusic | 3 inside this issue SHOVELS AND ROPE pg 38 O’ What Two Can Do The triumphant union, joyful noise and crazy good times of Cary Ann Hearst and Michael Trent by Kelly Dearmore FEATUREs 34 Q&A: Paul Thorn — By Lynne Margolis 48 Sunny Sweeney finds the light — By Holly Gleason 52 Lee Ann Womack: When I come around — By Richard Skanse 56 Cory Branan: The wandering musical spirit of Americana’s free-ranging “No-Hit Wonder” — By Adam Daswon 58 Imagine Houston: An excerpt from Reverb, the new novel by Joe Ely Photo courtesy of All Eyes Media 4 | LoneStarMusic LoneStarMusic | 5 after awhile inside this issue Publisher: Zach Jennings Editor: Richard Skanse Notes from the Editor | By Richard Skanse Creative Director/Layout: Melissa Webb Cover Design: Melissa Webb Advertising/Marketing: Kristen Townsend Apart from the opportunity to work with a team of really good people Advertising: Tara Staglik, Erica — especially graphic designer Melissa Webb, who I’d already known and Brown greatly respected for years — one of the things that appealed most to me Artist & Label Relations: Kristen Townsend about joining this magazine five years ago was owner Zach Jennings’ vision that LoneStarMusic could be about more than just Texas music. Even more Contributing Contributing and Writers Photographers than Texas Red Dirt music. We all agreed that we would still focus on songwriters and roots and/or country(ish) music — pretty much anything Richard Skanse John Carrico that could directly or even indirectly fall under the category of “Americana” in Lynne Margolis Lynne Margolis Brian T.
    [Show full text]
  • As at January 25, 2009
    Apollo Theater 2016-2017 Season Features Emerging and Established Artists from Across the Globe and Extends Collaborations with Local, National, and International Institutions Highlights Include: The MJ Jazz Experience: A Tribute to Michael Jackson Irvin Mayfield and the New Orleans Jazz Orchestra Reimagine Apollo Legend Michael Jackson’s Hits Hendrix in Harlem A Concert Celebrating the Legendary Rock Genius Jimi Hendrix The First Noel returns in an Unprecedented Move to the Theater’s Mainstage, a collaboration with Classical Theatre of Harlem Apollo Partners with AFROPUNK to Present Unapologetically Black: AFROPUNK’s Race Music The Apollo Presents the Return of Southbank Centre London’s WOW - Women of the World Festival Including a Tribute Concert to Jazz Legend and Activist Abbey Lincoln A John F. Kennedy Center for the Performing Arts Production Signature Programs Apollo Music Café, Apollo Comedy Club, Amateur Night at the Apollo as well as ongoing Community and Education Programs (Harlem, NY - May 24, 2016) – The Apollo Theater today announced details of its 2016-2017 season, which will feature an array of programs showcasing both established and emerging artists and deepen parterships with a diverse array of institutions. The new season will extend the nonprofit institution’s commitment to catalyzing the creation of new works that draw upon the legacy of the world-famous Theater. Alongside engagements with international artists working in a variety of disciplines, the season will include forums for cross-cultural dialogue led by artists and scholars, and education programs for students and families from throughout the five boroughs. The season kicks off with The MJ Jazz Experience, a tribute to the Apollo Legend and music icon Michael Jackson, with Apollo Jazz-Artist-In-Residence Irvin Mayfield and his New Orleans Jazz Orchestra, in Mayfield’s third presentation for the Theater.
    [Show full text]
  • Patterson Hood Looks Back to Move Forward on His New Best Release, Murdering Oscar (And Other Love Songs)
    ONE YEAR ISSUE! FREE! METRIC • ASHER ROTH • CYCLE OF PAIN THE GINGER ENVELOPE • ST. VINCENT • CAGE THE ELEPHANT • MATTHEW SWEET CARS CAN BE BLUE • EELS • AND MORE! FOR FANS OF MUSIC & THOSE WHO MAKE IT ISSUE 8 TEN QUESTIONS WITH...311 THE UNDYING ROCK Father OPERA GIRLS IN ATHENS ROCK... Knows LITERALLY NIC CAGE: A STAR’S Best: TREK Patterson Hood PLUS! ULTIMATE Looks Back to MUSICIAN’S Move Forward GEAR GUIDE ATHFEST TURNS 13: OUR 2009 GUIDE 13th annual 4 days of music, art, camping & loving le: Profi SWOP 13th annual No overlapping sets, 35 Headlining Bands, 40+ Hours of music, All Ages, rain or Shine, Even Better VIP section, Microbrews, Kids area, Family camping, Drum circles, Food & Craft vendors & much much more! Ad Name: Full Flavor Closing Date: 1.7.9 Trim: 8.25 x 10.75 Item #: PSE20089386 QC: RR Bleed: 8.75 x 11.25 Job/Order #:594830-199138 Pub: Athens Blur Live: 7.5 x 10 cover story Father Knows (14) Athens legend and Drive By-Truck- ers frontman Patterson Hood looks back to move forward on his new Best release, Murdering Oscar (And Other Love Songs). —Alec Wooden (41) (45) After 19 years, 311 continues Athens’ homegrown music to uplift spirits with reggae- and arts festival continues infused rock on the first to get stronger with each album in nearly four years. passing year. tenquestions with311 — Nicole Black No — Alec Wooden Mystery About it: (51) (45) Ten bands beat the new singles craze and prove the concept album is back on the rise. turns — Natalie B.
    [Show full text]