Il Vostro Giornale - 1 / 2 - 02.10.2021 2

Total Page:16

File Type:pdf, Size:1020Kb

Il Vostro Giornale - 1 / 2 - 02.10.2021 2 1 Savona, una giornata tra cinema e musica con Don Letts di Redazione 03 Dicembre 2009 – 12:48 Il Vostro Giornale - 1 / 2 - 02.10.2021 2 [thumb:15414:l]Savona. L’associazione culturale TrueLove, in collaborazione con NuovoFilmstudio e Raindogs e con il contributo dell’assessorato alla cultura del Comune di Savona e della Cgil, ha invitato a Savona Don Letts per una giornata che si svilupperà tra musica e cinema. Domani, alle ore 17, verrà quindi proiettata nella sala del NuovoFilmstudio una selezione dei suoi lavori in campo video, seguita da aperitivo e dj set a cura di Count JoJo. Alle ore 19 Don Letts verrà intervistato da Marco Philopat, noto scrittore e giornalista milanese fondatore della casa editrice Agenzia X, sulla sua carriera di artista dal 1976 ad oggi. L’incontro, ad ingresso gratuito, si concluderà intorno alle 20. L’evento proseguirà, alle ore 22, presso il Circolo Raindogs di Via Chiodo, dove Don Letts attraverserà 30 anni di musica con un dj set esplosivo supportato dalle proiezioni dei suoi lavori video. Ad aprire la serata sarà il dj set del collettivo Positive Vibration. [image:15414:r] Con questo evento TrueLove ha voluto mettere in risalto un altro dei molteplici aspetti della storia del punk, che è quello del legame con la musica reggae e della capacità che ha avuto questa sottocultura di reinventarsi e mescolarsi nel corso di 30 anni di esistenza. Ecco un ritratto di Don Letts redatto dall’Associazione TrueLove: “Don Letts è stato uno dei personaggi più influenti del primo punk inglese pur non facendo parte di nessun gruppo della nuova onda rock nata nel 1976. Iniziò a lavorare come DJ al Roxy, un noto locale di ritrovo dei punk londinesi, nel periodo in cui scoppiò il fenomeno punk. Non avendo a disposizione molti dischi di gruppi punk da includere nella sua playlist, introdusse in essa dischi dub e reggae. Questa sua scelta influenzò molti gruppi, tra i quali i Clash, che lo raffigureranno nella copertina del loro album Super Black Market Clash. La foto rappresentata nella locandina della giornata del 4 dicembre ritrae Don che fronteggia un gruppo di poliziotti in tenuta anti sommossa durante la rivolta al Carnival di Notting Hill nek 1976”. “La scelta dei Clash era quella di sintetizzare le tensioni che scuotevano l’Inghilterra all’epoca e che vedevano accomunati punk ed immigrati nelle rivendicazioni sociali. Un’immagine che entrò di diritto nell’immaginario del punk inglese, anche se poi egli dichiarò che stava semplicemente camminando verso una via di fuga senza dare troppo nell’occhio! Si dedicò poi alla macchina da presa, il suo primo film fu The Punk Rock Movie del 1978 nel quale documenta la scena musicale inglese del periodo. Successivamente formerà insieme a Mick Jones (fuoriuscito dai Clash) i Big Audio Dynamite, che svilupparono una miscela musicale che univa chitarre rock, linee di basso reggae con ritmi hip hop. Ad oggi tiene regolarmente uno show alla BBC Radio che lo ha voluto per la sua capacità di saper proporre musiche che superano le barriere dei generi e del tempo. Recentemente si è concentrato sulla produzione cinematografica, e nel 2003 ha vinto un Grammy Award per Westway to the World, film-documentario con interviste e spezzoni di concerti riguardanti la carriera musicale delgruppo punk inglese The Clash. Ha inoltre all’attivo la direzione di oltre 400 video musicali”. Il Vostro Giornale - 2 / 2 - 02.10.2021.
Recommended publications
  • BBC Four Programme Information
    SOUND OF CINEMA: THE MUSIC THAT MADE THE MOVIES BBC Four Programme Information Neil Brand presenter and composer said, “It's so fantastic that the BBC, the biggest producer of music content, is showing how music works for films this autumn with Sound of Cinema. Film scores demand an extraordinary degree of both musicianship and dramatic understanding on the part of their composers. Whilst creating potent, original music to synchronise exactly with the images, composers are also making that music as discreet, accessible and communicative as possible, so that it can speak to each and every one of us. Film music demands the highest standards of its composers, the insight to 'see' what is needed and come up with something new and original. With my series and the other content across the BBC’s Sound of Cinema season I hope that people will hear more in their movies than they ever thought possible.” Part 1: The Big Score In the first episode of a new series celebrating film music for BBC Four as part of a wider Sound of Cinema Season on the BBC, Neil Brand explores how the classic orchestral film score emerged and why it’s still going strong today. Neil begins by analysing John Barry's title music for the 1965 thriller The Ipcress File. Demonstrating how Barry incorporated the sounds of east European instruments and even a coffee grinder to capture a down at heel Cold War feel, Neil highlights how a great composer can add a whole new dimension to film. Music has been inextricably linked with cinema even since the days of the "silent era", when movie houses employed accompanists ranging from pianists to small orchestras.
    [Show full text]
  • OUR GUARANTEE You Must Be Satisfied with Any Item Purchased from This Catalog Or Return It Within 60 Days for a Full Refund
    Edward R. Hamilton Bookseller Company • Falls Village, Connecticut February 26, 2016 These items are in limited supply and at these prices may sell out fast. DVD 1836234 ANCIENT 7623992 GIRL, MAKE YOUR MONEY 6545157 BERNSTEIN’S PROPHETS/JESUS’ SILENT GROW! A Sister’s Guide to ORCHESTRAL MUSIC: An Owner’s YEARS. Encounters with the Protecting Your Future and Enriching Manual. By David Hurwitz. In this Unexplained takes viewers on a journey Your Life. By G. Bridgforth & G. listener’s guide, and in conjunction through the greatest religious mysteries Perry-Mason. Delivers sister-to-sister with the accompanying 17-track audio of the ages. This set includes two advice on how to master the stock CD, Hurwitz presents all of Leonard investigations: Could Ancient Prophets market, grow your income, and start Bernstein’s significant concert works See the Future? and Jesus’ Silent Years: investing in your biggest asset—you. in a detailed but approachable way. Where Was Jesus All Those Years? 88 Book Club Edition. 244 pages. 131 pages. Amadeus. Paperbound. minutes SOLDon two DVDs. TLN. OU $7.95T Broadway. Orig. Pub. at $19.95 $2.95 Pub. at $24.99SOLD OU $2.95T 2719711 THE ECSTASY OF DEFEAT: 756810X YOUR INCREDIBLE CAT: 6410421 THE MAMMOTH BOOK OF Sports Reporting at Its Finest by the Understanding the Secret Powers ANTARCTIC JOURNEYS. Ed. by Jon Editors of The Onion. From painfully of Your Pet. By David Greene. E. Lewis. Collects a heart-pounding obvious steroid revelations to superstars Interweaves scientific studies, history, assortment of 32 true, first-hand who announce trades in over-the-top TV mythology, and the claims of accounts of death-defying expeditions specials, the world of sports often seems cat-owners and concludes that cats in the earth’s southernmost wilderness.
    [Show full text]
  • Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8
    Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8 Music Boo-Hooray is proud to present our eighth antiquarian catalog, dedicated to music artifacts and ephemera. Included in the catalog is unique artwork by Tomata Du Plenty of The Screamers, several incredible items documenting music fan culture including handmade sleeves for jazz 45s, and rare paste-ups from reggae’s entrance into North America. Readers will also find the handmade press kit for the early Björk band, KUKL, several incredible hip-hop posters, and much more. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Ben Papaleo, Evan, and Daylon. Layout by Evan. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Table of Contents 31. [Patti Smith] Hey Joe (Version) b/w Piss Factory ..................
    [Show full text]
  • Catálogo Britannia Lado B
    BRITANNIA LADO B: 40 AÑOS DE PUNK BRITANNIA B-SIDE: 40 YEARS OF PUNK Espíritu del 77 Spirit of ‘77 El 28 de octubre de 1977 se lanzó el único álbum October 28, 1977 marked the release of the de una banda que se había formado menos de dos only album by a band that had been formed less años antes y se disolvería tres meses más tarde, than two years earlier and would break up three después de cambiar para siempre mucho más que months later, after changing much more than rock la historia del rock. Never Mind the Bollocks, Here’s history forever. Never Mind the Bollocks, Here’s the Sex Pistols no fue el primer disco punk pero es the Sex Pistols wasn’t the first punk rock album, el disco punk por antonomasia, más que Ramones but is the punk rock album par excellence, more o The Clash, porque a diferencia de ellos contie- than Ramones or The Clash, because unlike them, ne –en su accidentada gestación, en el nihilismo it contains –in its bumpy gestation, in the wild ni- salvaje de sus canciones, en la implosión inevitable hilism of its songs, in the inevitable implosion it que anunciaba– la totalidad de la parábola rápida announced– the totality of the fast and furious y furiosa que el punk pensaba recorrer. “No hay fu- parable that punk rock was thinking of covering. turo”, escrito con letras mal recortadas, y clavado “No future”, written in poorly cut-out letters, and por ahí con un alfiler de gancho. pounded with a safety pin.
    [Show full text]
  • Lucy Robinson | Sussex University
    10/05/21 Post-Punk Britain 1975-present - V1420 - Lucy Robinson | Sussex University Post-Punk Britain 1975-present - V1420 - View Online Lucy Robinson 1. Dale, P.: Anyone Can Do It: Empowerment, Tradition and the Punk Underground. Ashgate Publishing, Farnham (2012). 2. Dale, P.: Anyone Can Do It: Empowerment, Tradition and the Punk Underground. Ashgate, Farnham, Surrey (2012). 3. Grossberg, L.: Is there rock after punk? Critical Studies in Mass Communication. 3, 50–74 (1986). https://doi.org/10.1080/15295038609366629. 4. Reynolds, S.: Rip It Up and Start Again: Postpunk 1978-1984. Penguin Books, New York (2006). 5. Sabin, R.: Punk Rock, So What?: the Cultural Legacy of Punk. Routledge, London (1999). 6. Thompson, S.: Punk Productions: Unfinished Business. State University of New York Press, Albany, NY (2004). 1/77 10/05/21 Post-Punk Britain 1975-present - V1420 - Lucy Robinson | Sussex University 7. Cain, B.: ’77 Sulphate Strip: an Eye Witness Account of the Year That Changed Everything. Ovolo, [Ellington?] (2007). 8. Coon, C.: 1988: the New Wave Punk Rock Explosion | The 100 Club Punk Rock Festival. rocksbackpages library. (1988). 9. Coon, C.: 1988: the New Wave Punk Rock Explosion. Omnibus Press, London (1982). 10. Glasper, I.: Burning Britain: the History of UK Punk, 1980-1984. Cherry Red, London (2004). 11. Nolan, D.: I Swear I Was There: the Gig that Changed the World. Independent Music, Church Stretton (2006). 12. Robb, J., Rollins, H.: Punk Rock: an Oral History. PM, Oakland, CA (2012). 13. Savage, J.: England’s Dreaming: Sex Pistols and Punk Rock. Faber & Faber, London (1991). 14.
    [Show full text]
  • (Or Do You Want the Truth)? Intersections of Punk and Queer in the 1970S
    Jordan (Pamela Rooke) outside the SEX shop owned by Vivienne Westwood and Malcolm McLaren. Courtesy Wikimedia Commons RHR100_07_Nyongo.indd 102 9/14/07 11:01:57 AM Do You Want Queer Theory (or Do You Want the Truth)? Intersections of Punk and Queer in the 1970s Tavia Nyong’o In a May 11, 1978, interview on NBC television’s late-night talk show Tomorrow, the punk poet Patti Smith assured her interviewer, Tom Snyder, that the kids were alright. Smith — whose first single, “Hey Joe/Piss Factory,” had been financed by her friend and former lover, Robert Mapplethorpe — told Snyder: I want the future to be like, I mean, I just want it to be like an open space for children. I mean, for me the future is children, and I feel like, you know, when I was younger first I wanted to be a missionary, then I wanted to be a schoolteacher, it’s like, you know, I couldn’t, I couldn’t, uh, get through all the dogma, and I couldn’t really integrate all of the rules and regulations of those professions into like my lifestyle and into the, into the generation that I was part of. And the really great thing about, umm, doing the work that I’m doing now, I have like all the ideals that I ever had to like communicate, you know, to, to, to children, or to people in general, to everybody, and to communicate with my creator, I, I can do everything all the perverse ends of it, and also, you know, all the innocence.
    [Show full text]
  • AND YOU WILL KNOW US Mistakes & Regrets .1-2-5 What
    ... AND YOU WILL KNOW US Mistakes & Regrets .1-2-5 What You Don't Know 10 COMMANDMENTS Not True 1989 100 FLOWERS The Long Arm Of The Social Sciences 100 FLOWERS The Long Arm Of The Social Sciences 100 WATT SMILE Miss You 15 MINUTES Last Chance For You 16 HORSEPOWER 16 Horsepower A&M 540 436 2 CD D 1995 16 HORSEPOWER Sackcloth'n'Ashes PREMAX' TAPESLEEVES PTS 0198 MC A 1996 16 HORSEPOWER Low Estate PREMAX' TAPESLEEVES PTS 0198 MC A 1997 16 HORSEPOWER Clogger 16 HORSEPOWER Cinder Alley 4 PROMILLE Alte Schule 45 GRAVE Insurance From God 45 GRAVE School's Out 4-SKINS One Law For Them 64 SPIDERS Bulemic Saturday 198? 64 SPIDERS There Ain't 198? 99 TALES Baby Out Of Jail A GLOBAL THREAT Cut Ups A GUY CALLED GERALD Humanity A GUY CALLED GERALD Humanity (Funkstörung Remix) A SUBTLE PLAGUE First Street Blues 1997 A SUBTLE PLAGUE Might As Well Get Juiced A SUBTLE PLAGUE Hey Cop A-10 Massive At The Blind School AC 001 12" I 1987 A-10 Bad Karma 1988 AARDVARKS You're My Loving Way AARON NEVILLE Tell It Like It Is ABBA Ring Ring/Rock'n Roll Band POLYDOR 2041 422 7" D 1973 ABBA Waterloo (Swedish version)/Watch Out POLYDOR 2040 117 7" A 1974 ABDELLI Adarghal (The Blind In Spirit) A-BONES Music Minus Five NORTON ED-233 12" US 1993 A-BONES You Can't Beat It ABRISS WEST Kapitalismus tötet ABSOLUTE GREY No Man's Land 1986 ABSOLUTE GREY Broken Promise STRANGE WAYS WAY 101 CD D 1995 ABSOLUTE ZEROS Don't Cry ABSTÜRZENDE BRIEFTAUBEN Das Kriegen Wir schon Hin AU-WEIA SYSTEM 001 12" D 1986 ABSTÜRZENDE BRIEFTAUBEN We Break Together BUCKEL 002 12" D 1987 ABSTÜRZENDE
    [Show full text]
  • An Action History of British Underground Cinema
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2003 Not Art: An Action History of British Underground Cinema Reekie, Duncan http://hdl.handle.net/10026.1/1273 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. NOT ART: AN ACTION HISTORY OF BRITISH UNDERGROUND CINEMA by DuRan Reekie A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY Falmouth College of Arts August 2003 THESIS CONTAINS CD This copy of the thesis has been supplied on the condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis and no injormntion derived from it mny be published without the author's prior consent. Abstract NOT ART: AN ACTION IDSTORY OF BRITISH UNDERGROUND CINEMA My thesis is both an oppositional history and a (re)definition of British Underground Cinema culture (1959 - 2(02). The historical significance of Underground Cinema has long been ideologically entangled in a mesh of academic typologies and ultra leftist rhetoric, abducting it from those directly involved. The intention of my work is to return definition to the 'object' of study, to write from within.
    [Show full text]
  • Punk Cinema by Stacy Thompson
    Punk Cinema by Stacy Thompson Abstract: Despite the casual use to which the term “punk cinema” has been put since the inception of punk rock, the concept, as reimagined in this essay, denotes an identifiable aesthetic, bolstered by a correlative economics. Adherents of this model demand of cinema what punks have demanded of music—that it encourage production, in any medium. Punk cinema employs an open, writerly aesthetic, en- gages with history, and critiques its own commodification. It can be negatively defined as non-Hollywoodized, where a Hollywood aesthetic demands a closed, readerly text unconcerned with history and obfuscating its position within the re- lations of production. Punk films, such as The Punk Rock Movie (Don Letts, 1978) and Rude Boy (Jack Hazan, 1980), foreground their conditions of production, which stand as material signifiers of the possibility of making music or film, participating in critique, or doing both at once. As with any cultural movement that has enjoyed some longevity, competing defini- tions of punk abound, with some individuals swearing fealty to one or another, while other self-proclaimed punks cordon off the term as “that which cannot be defined.” At one end of the continuum is the suburban youth who works for his spending money at the Hot Topic store in a mall, wears the store’s apparel, and sells major label–produced CDs by Blink 182 and the White Stripes. This youth’s cohort includes everyone who encounters punk primarily through videos on MTV and VH1. At the other end of the spectrum are “genuine” punks who play in anarcho-punk bands, listen solely to independently produced anarcho-punk, steal or panhandle their means of subsistence, squat in abandoned buildings, and es- chew most forms of commodity exchange.
    [Show full text]
  • The Sex Pistols and the London Mob
    The Sex Pistols and the London Mob Michael Ewen Kitson Doctor of Philosophy University of Western Sydney, 2008 From my point of view it’s got nothing to do with music. And you could build up a whole thesis just on that thing. Marcus Lipton MP Johnny Rotten? Sid Vicious? Aren’t they characters from a Dickens novel? Kenny Rogers, country music singer1 1 Barry Cain, 77 Sulphate Strip, Ovolo, Cornwall 2007: p.101. Thank you to my brother Max for your hospitality in London and generous assistance (financial and intellectual); to my father Michael for unstinting encouragement and for our regular Tuesday meets; to my mother Jill for your support and excellent editorial advice; thank you to Sally Joy for her many gifts; to Dr Linda Hawryluk for your friendship; to David Brazil, Tyswan Slater, daughter, Kahlila, and Briana McLean who all welcomed me into your extraordinary lives and kept me from loneliness in the mountains’ Blue. Finally, thank you to Gary Scott and Eva Kahans, Michael Francis and especially you, Joe – who never failed to remind me that a PhD was a very boring subject for discussion with a five-year old. For the punks I’ve known: Cressida, Josh, Ken, Sean and Matt, John and Shane, and A.J. I wish to warmly acknowledge the invaluable assistance of Dr Jane Goodall, whose wit and humour combined with infinite patience, transformed my ideas and tested my theories, while Dr Glen McGillivray’s eye for the whole, combined with his detailed editorial advice, saw this thesis become the thing it is.
    [Show full text]
  • DVD Review: Blank Generation
    The Metal Minute Awarded 2009 Best Personal Blog By Metal Hammer Magazine Sunday, March 21, 2010 DVD Review: Blank Generation Blank Generation 2010 MVD Visual Ray Van Horn, Jr. The thing with punk rock, particularly in its early-on stages is there's no way to be subjective with it. Unlike metal, which applies itself fundamentally to documentarians and filmmakers because its constituents are largely outgoing in conjunction with music so damned loud, punk rock is largely apposite. Before punk became a marketable commodity in the 2000s to the point you can buy punk rocker Halloween costumes, it was the most anti-social, confrontational music scene before the Scandinavian black metal scene emerged. It's why films like Sid & Nancy, The Great Rock 'n Roll Swindle and Jubilee ring with quirks instead stocks and bombs. Punk is so basic in its fuck-you concept filmmakers and obsessively curious historians have gone to lengths of overkill trying to sociologize it all. Honestly, Rock and Roll High School works because it has The Ramones to amp it up, but it's so intentionally pretentious and subversively pop-minded you forgive it at face- value. Even The Great Rock 'n Roll Swindle is designed to be a roast in the Sex Pistols' inimitable sludge 'n glass style. Repo Man, Class of 1984 and to certain latitudes Return of the Living Dead are cyberpunk, cowpunk, crunkpunk, gorepunk, whatever you want to name them, but they're more about flavor capture as in the brand of iced tea in the convenience store which gets overlooked and bought last behind the more trendy Arizona and Lipton brands.
    [Show full text]
  • Post-Punk Britain 1975-Present - V1420 - Lucy Robinson | Sussex University
    09/30/21 Post-Punk Britain 1975-present - V1420 - Lucy Robinson | Sussex University Post-Punk Britain 1975-present - V1420 - View Online Lucy Robinson Adams, R. (2008a). The Englishness of English punk: Sex Pistols, subcultures, and nostalgia. Popular Music and Society, 31(4), 469–488. https://doi.org/10.1080/03007760802053104 Adams, R. (2008b). The Englishness of English punk: Sex Pistols, subcultures, and nostalgia. Popular Music and Society, 31(4), 469–488. https://doi.org/10.1080/03007760802053104 Albertine, V. (2015). Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys. Faber & Faber. Albiez, S. (2003). Know history!: John Lydon, cultural capital and the prog/punk dialectic. Popular Music, 22(3), 357–374. http://www.jstor.org.ezproxy.sussex.ac.uk/stable/3877580 Albiez, S. (2006). Print the truth, not the legend. The Sex Pistols: Lesser Free Trade Hall, Manchester, June 4, 1976. In I. Inglis (Ed.), Performance and Popular Music: History, Place and Time: Vol. Ashgate popular and folk music series (pp. 92–106). Ashgate. https://contentstore.cla.co.uk/secure/link?id=ec23bb39-3b0e-e711-80c9-005056af4099 Albiez, S. (2012a, March 4). Print the truth, not the legend: Sex Pistols: Lesser Free Trade Hall. 4 June 1976. https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnx zZWFuYWxiaWV6fGd4OjRmNWI5NTE5ZmI0OTU3NDk&pli=1 Albiez, S. (2012b, March 4). Print the truth, not the legend: Sex Pistols: Lesser Free Trade Hall. 4 June 1976. https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnx zZWFuYWxiaWV6fGd4OjRmNWI5NTE5ZmI0OTU3NDk&pli=1 Albiez, S. (2012c, March 4). Print the truth, not the legend: Sex Pistols: Lesser Free Trade Hall.
    [Show full text]