DOCSLIB.ORG

SWR2 Musikpassagen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SWR2 Musikpassagen SWR2 MANUSKRIPT ESSAYS FEATURES KOMMENTARE VORTRÄGE __________________________________________________________________________ SWR2 Musikpassagen Sad Peter Pan Der Singer/ Songwriter Vic Chesnutt Von Bernd Gürtler Sendung: Sonntag, 12.04.2015 Redaktion: Anette Sidhu-Ingenhoff Produktion: SWR 2015 __________________________________________________________________________ Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. __________________________________________________________________________ Service: Mitschnitte aller Sendungen der Redaktion SWR2 Musikpassagen sind auf CD erhältlich beim SWR Mitschnittdienst in Baden-Baden zum Preis von 12,50 Euro. Bestellungen über Telefon: 07221/929-26030 __________________________________________________________________________ Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2-Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de 2 Und heute, Sad Peter Pan, es geht um den amerikanischen Sänger und Songschreiber Vic Chesnutt. Zu Wort kommen sein bester Freund aus Nashville, Tennessee und ein Zeitzeuge aus Athens, Georgia. Der erste Song aus dem Jahr 1995 heißt „Sad Peter Pan“ und skizziert ein melancholisches Selbstporträt. Am Mikrofon begrüßt Bernd Gürtler. VIC CHESNUTT: Sad Peter Pan (3:31) CD/02 Die charmante Südstaatenmetropole Athens, Georgia ist berühmt für ihre Universität und herausragende Rockmusik. Unter anderem die B52’s und R.E.M. starten in Athens. Paul Butchard war mit seiner Formation The Side Effects zur rechten Zeit am rechten Ort und gilt als wichtiger Zeitzeuge. (10) O-Ton: (englisch/deutsch) (2:22) (01) Vor 1977/78, vor den B52’s klang die Populärmusik in Athens wie überall, in den Sechzigern nach Memphis Soul und Bläsern, in den Siebzigern nach Allman Brothers. … Von welchem Planeten die B52’s kamen, weiß kein Mensch, sie sind ohne Beispiel gewesen. Jeder aus dem Umfeld der B52’s wollte originell klingen. Nimm‘ die Einflüsse deiner Umgebung und forme deinen eigenen Sound! … Keiner von uns war musikalisch vorbelastet. Ich wusste nicht, was eine Harmonie ist, musikalische Fachbegriffe sind Böhmische Dörfer für mich gewesen. Unsere Musik war nicht auf den Kopf gerichtet, wir wollten emotional bewegen, zum Tanzen bringen. Lange war der Athens-Sound von den eingeschränkten Möglichkeiten der Musiker geprägt. … Dann sind R.E.M. groß rausgekommen, und jeder wollte wie R.E.M. klingen. Überall dasselbe Gitarrengebimmel, derselbe Harmoniegesang, der aufpolierte Popsound. Das ging so weit, dass Studenten 1984 einen Flyer verteilten, darauf stand, ihr Langweiler, warum muss jede Band in Athens wie R.E.M. klingen?! … Danach wollte jeder ganz anders als R.E.M. klingen. Etwa um dieselbe Zeit zieht es Vic Chesnutt nach Athens. Seit einem selbstverschuldeten Autounfall mit achtzehn ist er vom Hals abwärts querschnittsgelähmt, aber nicht zu völliger Bewegungsunfähigkeit verdammt. Irgendwie kann er Hände, Arme und Beine doch bewegen und überzeugt bald jeden mit seinen eigenwilligen Songs. 2009 begeht Vic Chesnutt Selbstmord, er stirbt an einer Medikamentenüberdosis. VIC CHESNUTT: Super Tuesday (1:25) CD/10 Vic Chesnutt fällt sofort auf in Athens, Georgia, wegen seiner Querschnittslähmung ist er an den Rollstuhl gefesselt. Die Musikgeschichte der Stadt kennt einen wie ihn auch noch nicht, berichtet Paul Butchard. (20) O-Ton: (englisch/deutsch) (0:51) (02) Er war ein Dichtersänger, ein Spielmann auf der Durchreise. Einer, der in Athens Station macht und das Leben in seiner Gesamtheit betrachtet. … Seine Musik war ganz die seine. Athens hat Bands bevorzugt, ein Solist mit akustischer Gitarre war neu. Ein Jammer, dass er nicht mehr unter uns ist. Er war ein echtes Original, wollte nicht berühmt sein, bloß Musik machen. Das war ihm ein Bedürfnis. 3 Beginnen sollte Vic Chesnutt bei einer Band, als Mitstreiter der kaum bekannten La-Di-Das. Später sucht er noch mehrmals die Gesellschaft von Bands, 1998 entsteht ein Album mit Lambchop aus Nashville, Tennessee. Lambchop-Oberhaupt Kurt Wagner wird sein bester Freund. Schwer zu beschreiben, was genau sie beide verbunden hat, grübelt Kurt Wagner. (26) O-Ton: (englisch/deutsch) (1:25) (02) Es ist etwas gewesen, das ich von jeher in einem Song höre. Lange her, aber schon bei unserer ersten Begegnung dachte ich, das entspricht mir sehr. … Es war generell die Art seiner Musik, seines Gesangs, wie er die Welt sah, seine Wortwahl. Das kam mir bekannt vor, war aus einem sehr persönlichen Blickwinkel formuliert und genau beobachtet. Ich bin begeistert gewesen, fand ihn clever, humorvoll. Normalerweise bringe ich das mit Popmusik nicht in Verbindung. ... Er konnte nachdenklich sein ohne anzustrengen. Vorgebracht war das, wie ich es auch angehen würde, als Beobachter in der ersten Person. Bruchstücke seiner Erinnerung ergeben in der Quintessenz etwas Allgemeingültiges. Ein Song 1990 vom Debütalbum „Little“ heißt „Speed Racer“ und versteht sich als Hinweis auf eine gleichnamige Zeichentrickfernsehserie seiner Kindheit. Jeder, der davon weiß, dürfte allerdings eher noch an den verhängnisvollen Autounfall denken. Später liefert der Song eine Aussage in eigener Sache. Ich bin kein Opfer, ruft Vic Chesnutt, um im selben Atemzug auf religiösen Beistand zu verzichten. Ich bin Atheist, verkündet er des Weiteren. (34) VIC CHESNUTT: Speed Racer (4:44) CD/07 Egal was bei Vic Chesnutt an Cleverness, Humor, Nachdenklichkeit, an Peter-Pan-Naivität mitschwingt, ein Quantum Zorn ist immer dabei gewesen. Stimmt, entgegnet Zeitzeuge Paul Butchard. (37) O-Ton: (englisch/deutsch) (0:36) (04) Er war voll Zorn. Das erste Mal gehört habe ich von ihm, als jemand erzählte, Downtown verteilt ein Kerl im Rollstuhl Flyer, auf denen steht, es gibt keinen Gott. … Das war Vic Chesnutt. Er trug einiges an Zorn mit sich rum. … Weiß nicht, ob er sich selbst in seine Situation gebracht hat oder ob es ein Unfall war. Ob ein Selbstmord geplant war, der fehlgeschlagen ist. Widerspruch von Kurt Wagner, seinem besten Freund. (38) O-Ton: (englisch/deutsch) (0:26) (05) Würde ich nicht sagen, dass er ein zorniger Mensch war. Nicht nach meinem Eindruck. … Er war wie jeder andere auch, manchmal zornig, manchmal nicht, aber nicht generell zornig. Sich geschont hat er jedenfalls nie. „Gluefoot“, fauler Sack heißt ein wenig schmeichelhaftes Selbstporträt, eingebettet in beklemmende Erinnerungen an verschiedene Krankenhausaufenthalte. Man kann das Antiseptikum im OP beim Zuhören riechen. (42) VIC CHESNUTT: Gluefoot (2:21) CD/07 Sein Autounfall war das fatale Resultat jugendlichen Leichtsinns, immerhin ist Vic Chesnutt betrunken gewesen. Das ist eine Lesart, eine andere, 4 dass es ein fehlgeschlagener Selbstmordversuch war. Kurt Wagner überlegt. (46) O-Ton: (englisch/deutsch) (0:33) (06) Ich meine, er hätte mir erzählt, dass er es vorher schon versucht hat. Sicher bin ich nicht, aber gut möglich, dass er den Drang schon in jungen Jahren verspürt hat. … Das war lange vorher in ihm drin. Ein Unfall ist das bestimmt nicht gewesen. Vielfach ist gerätselt worden, worum es bei Vic Chesnutt eigentlich geht. Es geht genau darum: Dass das Leben vergänglich ist, und er das Ende selbst bestimmt. Das ist sein Thema, das zieht sich durch alle seine Songs. Kurt Wagner kann nur beipflichten. (50) O-Ton: (englisch/deutsch) (0:28) (07) Das war immer da. … Bei seinen letzten Schallplatteneinspielungen kam es klarer zum Vorschein, davor lag es mehr im Verborgenen. Das hat ihn verfolgt, seit wir uns kannten. Songs wie „Onion Soup“ sind kostbare Momente ungetrübter Heiterkeit im Vic-Chesnutt-Gesamtwerk. (52) VIC CHESNUTT: Onion Soup (4:41) CD/05 Es gibt Menschen, die werden mit einer Lebensunlust geboren und nichts, was das ändern könnte. Vic Chesnutt ist so jemand gewesen, vermutet Kurt Wagner. (55) O-Ton: (englisch/deutsch) (0:36) (08) Gute Frage, warum empfindet jemand so. Depressionen sind sicher eine Ursache. … Sehr kompliziert. Es ist eine Krankheit, die oft in Depressionen stürzt. Der Zuspruch des Publikums trägt eine Weile. Sein Album „About To Choke“ von 1996 ist all den guten Menschen gewidmet, die ihm schreiben, bitte stirb‘ nicht. Mit „Little Vacation“ enthält „About To Choke“ seinen bis dahin ulkigsten Song. (59) VIC CHESNUTT: Little Vacation (4:43) CD/07 Mit Hilfe eines Muskelrelaxans befördert sich Vic Chesnutt zu Weihnachten 2009 ins Jenseits. Er stirbt am 25. Dezember im Alter von fünfundvierzig Jahren. Die Nachricht von seinem Tod wird von Spekulationen begleitet, ob es nicht doch ein Unfall gewesen sein könnte. Für Kurt Wagner besteht kein Zweifel. (64) O-Ton: (englisch/deutsch) (0:15) (09) Ich war nicht dabei, bin mir aber sicher, nach allem, was ich weiß, dass die Überdosis selbst beigebracht war. Es gab einen akuten Auslöser für seine Tat, ein Schuldenberg von 50.000 Dollar aus unbeglichenen Arztrechnungen. Ein Ausweg schien sich anzubahnen, aber nicht rechtzeitig genug, beklagt Kurt Wagner. O-Ton: (englisch/deutsch) (1:10) (10) Er war in besten Händen. Mit Hochdruck wurde nach einem Krankenhaus, einer Pflegeeinrichtung gesucht, wo ihm geholfen werden konnte. Aber das zog sich, die Krankenversicherung tat sich schwer. … Mit einer besseren Gesundheitsversorgung
Load more

Recommended publications
  • West of Rome, 1993
    Debriefing: The music and art of Vic Chesnutt: "West of Rome", West of Rome, 1993 ... Page 1 of 2 "West of Rome", West of Rome, 1993 New West Records The title track from one of Vic's most celebrated albums is bittersweet for me today. Mark Linkous, of Sparklehorse fame, committed suicide this past weekend, in Knoxville, TN. Not only was he a fantastic musician, an artistic genius, and one of my favorite all time performers, but he did a amazing cover of West of Rome , for the Sweet Relief 2 compilation. Ironically, the last time I ever saw Mark, he and Vic and I were chatting about this specific track. It was in Asheville, NC. I had mentioned to Vic that it was the only song off of the album West Of Rome that I had never heard him perform. He told me that he hadn't played the song in years, but would try and work out an arrangement. At that point, Mark very humbly offered that if I wanted to hear a 'terrible' version that he had one on the Sweet Relief compilation. I sort of laughed and said that it was a fantastic cover and that it was my favorite track on that specific album. Afterwards, Mark and I sat together and watched Vic perform his magic. That was February 2009. I never saw either of them again after that night. West of Rome was inspired, but not directly, by the book of the same name by John Fante. The book, which features two novellas, is about a father's reflections on his own life and that of his children.
    [Show full text]
  • Download Don't Suck, Don't Die: Giving up Vic Chesnutt PDF
    Download: Don't Suck, Don't Die: Giving Up Vic Chesnutt PDF Free [148.Book] Download Don't Suck, Don't Die: Giving Up Vic Chesnutt PDF By Kristin Hersh Don't Suck, Don't Die: Giving Up Vic Chesnutt you can download free book and read Don't Suck, Don't Die: Giving Up Vic Chesnutt for free here. Do you want to search free download Don't Suck, Don't Die: Giving Up Vic Chesnutt or free read online? If yes you visit a website that really true. If you want to download this ebook, i provide downloads as a pdf, kindle, word, txt, ppt, rar and zip. Download pdf #Don't Suck, Don't Die: Giving Up Vic Chesnutt | #4479031 in Books | 2016-12-27 | 2016-12-27 | Formats: Audiobook, MP3 Audio, Unabridged | Original language: English | PDF # 1 | 6.75 x .50 x 5.25l, | Running time: 5 Hours | Binding: MP3 CD | |3 of 3 people found the following review helpful.| He Weren't Supernatural, He Was All Too Human | By Atom Joy |I bought this book because I am a career-long fan of Throwing Muses, Kristin Hersh’s original band. I was, however, entirely ignorant of the work of Vic Chesnutt. This slim but substantive volume is a memoir of Hersh’s professional relationship and friendship with Chesnutt during the ‘90s & ‘00s | | "The book's great sadness is matched by the skill and vitality of Hersh's writing; it will make treasured and troubled reading for fans of Chesnutt and the author alike. " (Kirkus s 2015-06-01) "Don't Suck, Don't Die is not only "Friend, asshole, angel, mutant," singer-songwriter Vic Chesnutt "came along and made us gross and broken people seem...I dunno, cooler, I guess." A quadriplegic who could play only simple chords on his guitar, Chesnutt recorded 17 critically acclaimed albums before his death in 2009, including About to Choke, North Star Deserter, and At the Cut.
    [Show full text]
  • Centro-Matic Triggers and Trash Heaps
    Centro-matic Tr iggers and Trash Heaps Label: Misra Catalog #: MSR38 Street date: February 7, 2006 Format: CD List Price: $6.98 Box Lot Quantity: 25 Packaging: Jewel case File Under: Rock/Indie 1. Tr iggers and Trash Heaps 2. The Little Guitars 3. Take a Rake (demo) 4. Tr iggers and Trash Heaps (stairwell demo) "What makes (Will Johnson) such a phenomenal lyricist is that he opts for the simplest language when painting an abstract picture." -- Ben Gibbard of Death Cab for Cutie in the New Yo rk Times "It's unforgettable in a Neil Young or Jeff Tweedy kind of way… As multifarious as the indie rock canon it's practically everything: from the South, in the basement, smoking pot, on the porch, plugging in, plucking soft and clocking out. It's a hootenanny of sweetly weathered proportions, free-wheeling clap-alongs and perfectly boozy balladry - not to mention ass kicking pop songs about rotary wheels and shotgun shells. Love You Just the Same is what a trucker cap would sound like if it could sing. Oh, and play violin." -- Magnet "HOT LIST! Oct 2003 - Country twang with a pinch of emo, held together by Will Johnson's raspy, searching voice. It's hearty, stick-to-your-ribs fare that makes you proud to be an American." -- Rolling Stone "These resonant fables of half-loved underdogs, essentially preposterous scenarios reported with apocalyptic seriousness, call to mind the last two Flaming Lips discs... the band hugely rawks here in an unprecedented approximation of their live show, often summoning the moldy hearts of Mould and Hart.
    [Show full text]
  • The Richest Boy in the World (Queen's
    The Richest Boy in the World COLOUR PHOTOGRAPHS BY DAVE HEATH, FROM HIS COLLECTION EROS AND THE WOUNDED SELF , . J. MARK SMITH For he that hath, to him shall be given: and he that hath not, from him shall be taken even that which he hath. gospel of mark , 4:25 hen word got out to polite society that Jean-Jacques Wrousseau had, starting in the late 1740s, placed the infants born to his mistress Thérèse levasseur with the paris foundling Hospital, the philosophe and inventor of modern childhood supposed he’d better explain himself. He later wrote (in Volume II of his Confessions ) that he had, contrary to appearances, acted to save his offspring – five in total – from “their father’s fate”: I will content myself by saying that in handing over my children to be brought up to the public authorities, for lack of means to bring them up myself, and by making it their destiny to become workers or peasants rather than adventurers or fortune-hunters, I believed myself to be acting as a citizen and a father would act, and I looked upon myself as a member of Plato’s republic. Though it has a place of note among the Western world’s more perverse rationalizations of indefensible behaviour, rousseau also strikes, as he often does, a vein of true self-awareness. some historical context first. In the year 1746, when rousseau was 34 and he and levasseur had their first child, 3,274 parisian children were – according to biographer maurice Cranston – abandoned in the streets by their parents, and roughly a thousand of these were (like rousseau’s) actu - ally delivered to the “public authorities.” paris had a population of close to half a million in the mid-1800s.
    [Show full text]
  • Addio Chesnutt La Voce Del Dolore
    36 LA NOSTRA DOMENICA DOMENICA 3 GENNAIO 2010 Culture Foto di Bernd Thissen/Ansa-Epa canzoni una profondità poetica che aveva pochi eguali negli Stati Uniti. La sua vita non era mai stata faci- le: molti gli eccessi, con droghe e al- col (c’è un suo disco, appunto intito- lato Drunk, che ammise d’aver regi- strato ubriaco fradicio), poi un inci- dente d’auto che lo costrinse nel 1983 sulla sedia a rotelle, paralizza- to dalla vita in giù, infine la depres- sione. Oggi una grossa fetta del mondo della musica folk d’autore americana piange la sua morte. Nel- l’universo indipendente Chesnutt era un punto di riferimento: Patti Smith piange la sua morte, lei che forse meglio di altri comprendeva i mille riferimenti letterari che il can- tautore piazzava qua e là nei suoi testi (Auden, Joseph Roth, molta poesia), ma anche la sua intima ami- ca Kristin Hersh e molti altri si sono dichiarati suoi appassionati sosteni- tori. Eppure Chesnutt nel giro «gros- so» non ci era mai finito. Non era affar suo. Il suo vestito era quello dell’hobo, del poeta esistenzialista, la materia con cui aveva a che fare Il gioco con la morte «Lanciato» da Michael Stipe, di culto, ma fuori dal giro «grosso» era il dolore. Il dolore come compa- gno di vita e cifra stilistica ma sem- pre mediato da un’acuta ironia (ne- ra, ovviamente), e da una rarefatta serenità (o forse era solo fatalismo) che regalava anche alla canzone dal significato più apocalittico una straordinaria leggerezza. Vic Chesnutt Il cantautore è morto il giorno di Natale a Athens, Georgia LE CAMPANE DEL GHETTO I suoi testi erano la materia prezio- sa, e spesso bastava quella voce un po’ storta, quello strano accento e SILVIA BOSCHERO pochi altri strumenti a creare la can- zone folk o il blues perfetto.
    [Show full text]
  • The Gothic Trespass in the Life and Songwriting of Tennessee Blues Musician Ray Cashman
    DESOLATION BLUES: THE GOTHIC TRESPASS IN THE LIFE AND SONGWRITING OF TENNESSEE BLUES MUSICIAN RAY CASHMAN Victor Bouvéron A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Folklore in the American Studies Department. Chapel Hill 2017 Approved by: William Ferris Glenn Hinson Crystal O’Leary-Davidson © 2017 Victor Bouvéron ALL RIGHTS RESERVED ii ABSTRACT Victor Bouvéron: Desolation blues: The Gothic trespass in the life and songwriting of Tennessee blues musician Ray Cashman (Under the direction of William Ferris) This thesis explores the pervading feeling of the Gothic in the life and songwriting of Tennessee blues musician Ray Cashman. I argue that Cashman emotionally responds to the South through the framework of the Gothic to assert his identity as a white southern working- class male. As a reader, writer and performer, he trespasses the lines of race and class. The ethnographic fieldwork I conducted in Tennessee, Georgia and North Carolina between 2015 and 2017 led me to reflect on the intriguing relationship between blues, southern Gothic literature and white working-class culture in the South. The songs written by Cashman often express a feeling of desolation, bleakness and decay, invoke a sense of nostalgia for a bygone time, or describe eerie landscapes and supernatural presences. Cashman also retells southern Gothic stories, like “Snake Feast,” inspired by Harry Crews’s A Feast of Snakes. iii ACKNOWLEDGEMENTS This project started the day I met Bill Ferris in Lille, France, in 2013. Bill encouraged me to apply to UNC-Chapel Hill and introduced me to the field of folklore.
    [Show full text]
  • Sparklehorse Founder Made Haunting Music Page 1 of 2
    Print Article: Sparklehorse founder made haunting music Page 1 of 2 Print this article | Close this window Sparklehorse founder made haunting music Published: March 13, 2010 - 3:00AM Mark Linkous created fractured songs that told of Advertisement sparrows, ''painbirds'' and junebugs; fabulous meditations on the beauty and impermanence of life. The American singer-songwriter, who has killed himself aged 47, worked with the Flaming Lips, Daniel Johnston and Danger Mouse, but is best known for the spectral country-folk music he recorded as Sparklehorse. His songs were infused with a strong sense of intimacy and place, chronicling what he called ''the dangerous, spooky part of the south''. Frederick Mark Linkous was born into a coalmining family in Arlington, Virginia on September 9, 1962. His musical epiphany came through hearing the Animals' House of the Rising Sun , a sensation he described as ''louder than a dirt bike''. In his youth, he began absorbing the regional country sounds of George Jones and the Stanley Brothers, before falling in love with punk acts such as the Sex Pistols and the Damned. By the time he was 12, his parents had divorced. He went to high school in Charlottesville and became, by his own admission, a ''juvenile delinquent''. In his late teens, Linkous and his band, the Dancing Hoods, lit out for New York and Los Angeles, but after two unsuccessful albums - 12 Jealous Roses (1986) and Hallelujah Anyway (1988) - he returned, disillusioned, to Virginia. Hearing Tom Waits's album Swordfishtrombones inspired Linkous to start afresh. He formed the Johnson Family, a band that played only ''300-year-old Irish songs'' and began fashioning new tracks with the same purity of spirit as those old-time tunes.
    [Show full text]
  • T. HARDY MORRIS to RELEASE the DIGITAL AGE of ROME JUNE 25Th VIA the NEW WEST RECORDS IMPRINT NORMALTOWN RECORDS
    T. HARDY MORRIS TO RELEASE THE DIGITAL AGE OF ROME JUNE 25th VIA THE NEW WEST RECORDS IMPRINT NORMALTOWN RECORDS SPIN PREMIERES “THE DIGITAL AGE OF ROME” VIDEO TODAY T. Hardy Morris is set to return with The Digital Age of Rome on June 25th via the New West Records imprint Normaltown Records. The 10-song set was produced by Adam Landry (Deer Tick, Rayland Baxter) and mixed by engineer Nate Nelson. It follows the Diamond Rugs and Dead Confederate member’s 2018 acclaimed Dude, The Obscure, which Pitchfork said "may be Morris' best record; it's certainly his most complex and compelling statement" and "it's sharp focus is refreshing," while AllMusic said, “Morris takes his ambitions skyward, infusing a joyous psychedelia into the mix…” After touring Dude, The Obscure, Morris had 13 new songs demoed for a new album. He was excited to get his band together to rehearse the songs before hunkering down in the studio to record...then the pandemic hit. Sequestered at his Athens, GA home with his family, Morris, like most everyone else in the past year, mulled over what was truly important to him and in response, crafted an entirely new set of songs. Enlisting a group of musicians including Drive-By Truckers drummer Brad Morgan, singer-songwriter Faye Webster and many others, Morris pulled no punches with his mesmerizing lyrics and hazy brand of southern glam rock. Looking directly inward and captivated by the sobering realities of the pandemic, Morris has composed one of his most personal works yet. He tackles the well-worn anxieties of the past year as pandemic and political divisions ravaged America.
    [Show full text]
  • Museum Hours
    A Cinema Guild Release Museum Hours A film by Jem Cohen 106 minutes / DCP / 1.78:1 / Dolby Digital / Austria/U.S. / Not Rated In English and German, with English subtitles. Stills available at: www.cinemaguild.com/museumhours/ NATIONAL MEDIA CONTACT Julia Pacetti JMP VERDANT COMMUNICATIONS (917) 584-7846 [email protected] Museum Hours Synopsis Acclaimed filmmaker Jem Cohen’s new feature, Museum Hours, is a mesmerizing tale of two adrift strangers who find refuge in Vienna’s grand Kunsthistorisches Art Museum. Johann, a museum guard, spends his days silently observing both the art and the visitors. Anne, suddenly called to Vienna from overseas, has been wandering the city in a state of limbo. A chance meeting sparks a deepening connection that draws them through the halls of the museum and the streets of the city. The exquisitely photographed Museum Hours is an ode to the bonds of friendship, an exploration of an unseen Vienna, and the power of art to both mirror and alter our lives. Museum Hours Director’s Statement by Jem Cohen The film got its start in the Bruegel room of Vienna's Kunsthistorisches Museum. Looking at certain paintings there, all from the 16th Century, I was particularly struck by the fact that the central focus, even the primary subject, was hard to pin down. This was clearly intentional, oddly modern (even radical), and for me, deeply resonant. One such painting, ostensibly depicting the conversion of St. Paul, has a little boy in it, standing beneath a tree, and I became somewhat obsessed with him. He has little or nothing to do with the religious subject at hand, but instead of being peripheral, one's eye goes to him as much as to the saint.
    [Show full text]
  • Pitchfork Mental Health
    “NAME ONE GENIUS THAT AIN’T CRAZY”- MISCONCEPTIONS OF MUSICIANS AND MENTAL HEALTH IN THE ONLINE STORIES OF PITCHFORK MAGAZINE _____________________________________________________________________________ A Thesis Presented to The Faculty of the Graduate School At the University of Missouri-Columbia ____________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts _____________________________________ By Jared McNett Dr Berkley Hudson, Thesis Supervisor December 2016 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled “NAME ONE GENIUS THAT AIN’T CRAZY”- MISCONCEPTIONS OF MUSICIANS AND MENTAL HEALTH IN THE ONLINE STORIES OF PITCHFORK MAGAZINE presented by Jared McNett, A candidate for the degree of masters of art and hereby certify that, in their opinion, it is worthy of acceptance. Professor Berkley Hudson Professor Cristina Mislan Professor Jamie Arndt Professor Andrea Heiss Acknowledgments It wouldn’t be possible to say thank enough to each and every person that has helped me with this along my way. I’m thankful for my parents, Donald and Jane McNett, who consistently pestered me by asking “How’s it coming with your thesis? Are you done yet?” I’m thankful for friends, such as: Adam Suarez, Phillip Sitter, Brandon Roney, Robert Gayden and Zach Folken, who would periodically ask me “What’s your thesis about again?” That was a question that would unintentionally put me back on track. In terms of staying on task my thesis committee (mentioned elsewhere) was nothing short of a godsend. It hasn’t been an easy two-and-a-half years going from basic ideas to a proposal to a thesis, but Drs.
    [Show full text]
  • Rassegna Stampa PERSIAN PELICAN
    Rassegna stampa PERSIAN PELICAN “Cronache intimistiche e confessioni sentimentali si mischiano in un irresistibile folk contemporaneo che traccia una buona distanza dai gruppi del genere che si autofotocopiano di continuo negli USA. Intrecci di chitarre sussurrate, atmosfere a tratti oniriche e rarefatte, esplosioni gioiose sprofondano in delicate virate verso orizzonti più oscuri e indefiniti. Echi alt-country sfumano in andature sbilenche e attimi di follia ben calibrata. I suoni sono tanto aspri quanto caldi e pieni, prevalentemente struggenti ma la colonna sonora di questi toccanti racconti intimi non si appiattisce mai su una sterile malinconia fine a se stessa. Andrea Pulcini è un moderno cantautore italiano, sicuramente uno dei più interessanti e meno convenzionali. Pulcini è la mente, l'anima e il corpo di Persian Pelican: suona quasi tutti gli strumenti e con l'aiuto di altri bravi musicisti ha confezionato uno dei dischi più piacevoli usciti in Italia negli ultimi mesi. “How to prevent a cold” accarezza la malinconia di un inverno senza fine ma è anche il respiro di una primavera che sta per sbocciare. L'atmosfera malinconica e toccante, ben sintetizzata nel brano che dà il titolo al disco, viene completamente rovesciata nell'improvvisa esplosione di colori di “Indian Ink”. La seconda prova di Persian Pelican arriva a quattro anni di distanza dall'esordio e non passa inosservata. Dodici bellissime canzoni e rare cadute di stile, una musica suadente abbraccia liriche in inglese scritte con cura e pronunciate atrettanto bene. La voce roca e sussurrata convince fin da subito nella sua andatura piacevolmente instabile e ricorda moltissimo quella di Matteo Agostinelli degli Yuppie Flu (e non si tratta certo di un difetto, anzi).
    [Show full text]
  • WIDESPREAD PANIC for Their Latest, the Masters of Improv Draw Upon Comedy and Tragedy Alike
    MAY 2010 ISSUE MMUSICMAG.COM SPOTLIGHT reps Jason Thrasher Todd Nance, John “JoJo” Hermann, Jimmy Herring, John Bell, Dave Schools, Domingo S. Ortiz Jason C WIDESPREAD PANIC For their latest, the masters of improv draw upon comedy and tragedy alike WIDESPREAD PANIC FRONTMAN JOHN ideas through that process. Someone gets Bell sees a sharp distinction between being a inspired to mess with the tempo, or the so-called “jam band” and being a band that’s arrangement, or just the feel of certain things.” adept at improvisation. “It’s the difference While the bulk of Dirty Side Down consists between playing while you’re asleep and of Panic originals, one standout track is playing while you’re awake,” he says. “To a cover of a never-before-released song apply yourself properly to improvisation, written by Vic Chesnutt, “This Cruel Thing.” you need to have an awareness of the other The acclaimed Athens singer and songwriter players and know what they’re doing with died just days before the group began their instruments. There’s an intensity in it recording. that really wakes you up.” “Listening to Vic’s songs is like hearing Bell should know. Over the last 24 years, a great comedian, someone who’s not just AS SEEN IN: MAY 2010 he and his bandmates have established spewing jokes but who’s saying things with themselves as one of America’s premier substance,” Bell says. “He got into heavy M MUSIC & MUSICIANS improvising live acts. The Athens, Ga.-based stuff, but he also kept things light on the MAGAZINE group’s shows have become so legendary, surface.” In fact, while Bell’s major infl uences in fact, that people sometimes forget that include Motown, Van Morrison, Neil Young along with the spectacular musicianship and Jeff Buckley, comedy albums by George comes a trove of great songs—including Carlin and the Firesign Theatre fueled his those on the band’s latest album, ideas about lyrical wordplay.
    [Show full text]