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Dream Baby Dream: Suicide: a New York City Story Online
EoeUa [Download] Dream Baby Dream: Suicide: A New York City Story Online [EoeUa.ebook] Dream Baby Dream: Suicide: A New York City Story Pdf Free Kris Needs ebooks | Download PDF | *ePub | DOC | audiobook Download Now Free Download Here Download eBook #1025856 in eBooks 2015-10-12 2015-10-18File Name: B0100QGEGW | File size: 55.Mb Kris Needs : Dream Baby Dream: Suicide: A New York City Story before purchasing it in order to gage whether or not it would be worth my time, and all praised Dream Baby Dream: Suicide: A New York City Story: 0 of 0 people found the following review helpful. Nice overview of New York City when it was a ...By John J. PotterNice overview of New York City when it was a dangerous creative cauldron of activity. Furthermore, Harrry Hill supplies insightful writing that adds resonance to Suicide's musical contributions to the period and the history of electronic music. BUY their first album and this tome!0 of 0 people found the following review helpful. A history of New York's musical art world in the 70'sBy Timm DavisonA great read0 of 0 people found the following review helpful. True originals. True story.By CustomerFantastic. ldquo;We were living through the realities of war and bringing the war onto the stage... Everybody hated us, manrdquo; Alan Vega Born out of the city's vibrant artistic underground as a counter-cultural performance art statement, opposing the war by mirroring its turmoil, Suicide became the most terrifyingly iconoclastic band in history, and also one of the most influential. -
Press Release
LOOKING AT MUSIC: SIDE 2 EXPLORES THE CREATIVE EXCHANGE BETWEEN MUSICIANS AND ARTISTS IN NEW YORK CITY IN THE 1970s AND 1980s Photography, Music, Video, and Publications on Display, Including the Work of Jean-Michel Basquiat, Blondie, Richard Hell, Sonic Youth, and Patti Smith, Among Others Looking at Music: Side 2 June 10—November 30, 2009 The Yoshiko and Akio Morita Gallery, second floor Looking at Music: Side 2 Film Series September—November 2009 The Roy and Niuta Titus Theaters NEW YORK, June 5, 2009—The Museum of Modern Art presents Looking at Music: Side 2, a survey of over 120 photographs, music videos, drawings, audio recordings, publications, Super 8 films, and ephemera that look at New York City from the early 1970s to the early 1980s when the city became a haven for young renegade artists who often doubled as musicians and poets. Art and music cross-fertilized with a vengeance following a stripped-down, hard-edged, anti- establishment ethos, with some artists plastering city walls with self-designed posters or spray painted monikers, while others commandeered abandoned buildings, turning vacant garages into makeshift theaters for Super 8 film screenings and raucous performances. Many artists found the experimental music scene more vital and conducive to their contrarian ideas than the handful of contemporary art galleries in the city. Artists in turn formed bands, performed in clubs and non- profit art galleries, and self-published their own records and zines while using public access cable channels as a venue for media experiments and cultural debates. Looking at Music: Side 2 is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art, and succeeds Looking at Music (2008), an examination of the interaction between artists and musicians of the 1960s and early 1970s. -
Download I Slept with Joey Ramone: a Punk Rock Family Memoir Free
I SLEPT WITH JOEY RAMONE: A PUNK ROCK FAMILY MEMOIR DOWNLOAD FREE BOOK Mickey Leigh, Legs McNeil | 416 pages | 15 Dec 2010 | SIMON & SCHUSTER | 9781439159750 | English | New York, United States I Slept with Joey Ramone: A Punk Rock Family Memoir Javascript is not enabled in your browser. Were the Monkeys. The Ramones were a force necessary to this universe. Too Tough to Die? The reason this happens is because I believe that rock-n-roll is pure joy and that only the warmest souls who have a firm grasp on the concept that Shit Happens can create it. I like the Ramones and I have a shit-ton of respect for what they accomplished in breaking new ground and really establishing the punk scene in the US, but I just don't know a lot of their stuff beyond the 8 or 10 big songs. Though The Ramones were never really commercially viable, they were a huge influence on literally hundreds or perhaps thousands of bands to come along in their wake. I've never actually witnessed brothers behaving as brothers before. But, alas, all is forgiven now that there's a book around to vindicate the author and clear his name of all the evil rumors his brother had been spreading I Slept with Joey Ramone: A Punk Rock Family Memoir their tumultuous relationship. Mickey Leigh. The Old Man and the Seafood. It also reveals without exploiting the mental illness Joey Ramone battled. While the music lives on for new generations to discover, I Slept with Joey Ramone is the enduring portrait of a man who struggled to find his voice and of the brother who loved him. -
Razorcake Issue #82 As A
RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS. -
Wavelength (December 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ---- Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson. -
Reinblättern (Pdf)
Philipp Meinert Von den Sechzigern bis in die Gegenwart Philipp Meinert, 1983 ausgerechnet in Gladbeck geboren, erlebte im Ruhrgebiet eine solide Punksozialisation. Inhalt Studium der Sozialwissenschaften in Bochum. Seit 2010 neben seiner Lohnarbeit regelmäßiger Schreiber und Interviewer für verschiedene Online- und Print- medien, hauptsächlich für das »Plastic Bomb Fanzine«. Über dieses Buch und Einleitung ...................................... 9 2013 gemeinsam mit Martin Seeliger Herausgeber des Sammelbandes »Punk in Deutschland. Sozial- und kultur- »A walk on the wild side« 15 wissenschaftliche Per spektiven«. Lebt in Berlin. Die ziemlich queere Welt des Prä-Punks in New York ................... Lou Reed: Der bisexuelle Pate des Punk .................................. 17 Glam: Glitzernde Vorzeichen des Punk .................................. 25 »Personality Crisis« Die New York Dolls als Bindeglied 30 zwischen Punk und Glam ............................................. »Hey little Girl! I wanna be your boyfriend.« Mit den Ramones 35 wird es heterosexueller................................................ »Immer der coolste Typ im Raum« - Interview Danny Fields ............... 38 »Man Enough To Be a Woman« – Jayne County, die transsexuelle 44 Punkgeburtshelferin ................................................... Punk-Genese in England .............................................. 57 Die englische Punkrevolution als kreative Befreiung von Frauen ............. 67 Interview mit Bertie Marshall ......................................... -
The Rolling Stones and Performance of Authenticity
University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
OZ 17 Richard Neville Editor
University of Wollongong Research Online OZ magazine, London Historical & Cultural Collections 12-1968 OZ 17 Richard Neville Editor Follow this and additional works at: http://ro.uow.edu.au/ozlondon Recommended Citation Neville, Richard, (1968), OZ 17, OZ Publications Ink Limited, London, 48p. http://ro.uow.edu.au/ozlondon/17 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] OZ 17 Description Editor: Richard Neville. Design: Jon Goodchild. Writers: Andrew Fisher, Ray Durgnat, David Widgery, Angelo Quattrocchi, Ian Stocks. Artists: Martin Sharp, John Hurford, Phillipe von Mora. Photography: Keith Morris Advertising: Felix Dennis, REN 1330. Typesetting: Jacky Ephgrave, courtesy Thom Keyes. Pushers: Louise Ferrier, Felix Dennis, Anou. This issue produced by Andrew Fisher. Content: Louise Ferrier colour back issue/subscription page. Anti-war montage. ‘Counter-Authority’ by Peter Buckman. ‘The alH f Remarkable Question’ - Incredible String Band lyric and 2p illustration by Johnny Hurford. Martin Sharp graphics. Flypower. Poverty Cooking by Felix and Anson. ‘The eY ar of the Frog’ by Jule Sachon. ‘Guru to the World’ - John Wilcock in India. ‘We do everything for them…’ - Rupert Anderson on homelessness. Dr Hipocrates (including ‘inflation’ letter featured in Playpower). Homosexuality & the law. David Ramsay Steele on the abolition of Money. ‘Over and Under’ by David Widgery – meditations on cultural politics and Jeff uttN all’s Bomb Culture. A Black bill of rights – LONG LIVE THE EAGLES! ‘Ho! Ho! Ho Chi Mall’ - the ethos of the ICA. Graphic from Nottingham University. Greek Gaols. Ads for Time Out and John & Yoko’s Two Virgins. -
The Life and Times of Penny Arcade. Matthew Hes Ridan Ames Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 "I Am Contemporary!": The Life and Times of Penny Arcade. Matthew heS ridan Ames Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Ames, Matthew Sheridan, ""I Am Contemporary!": The Life and Times of Penny Arcade." (1996). LSU Historical Dissertations and Theses. 6150. https://digitalcommons.lsu.edu/gradschool_disstheses/6150 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Jayne County Paranoia Paradise Curated by Michael Fox February 4 – March 11, 2018 Opening Reception, Sunday, February 4, 7-9Pm
For Immediate Release contact [email protected], 646-492-4076 Jayne County Paranoia Paradise Curated by Michael Fox February 4 – March 11, 2018 Opening Reception, Sunday, February 4, 7-9pm I think that my art serves as a way of putting out the fuse before it becomes a ballistic bomb of some sort. Some people are at odds with the world and they become serial killers, and others become artists. –Jayne County From February 4 – March 11, 2018, PARTICIPANT INC is honored to present Jayne County, Paranoia Paradise, the first retrospective exhibition of County’s visual artwork, curated by Michael Fox. Although County’s artistic output began in experimental theater in the late 1960s-early ‘70s, including work with Theater of the Ridiculous and in Andy Warhol’s Pork, she is perhaps most well-known as a rock singer and performer. This exhibition takes its title from one of County’s songs, Paranoia Paradise, which she famously performed as the character of “Lounge Lizard” in Derek Jarman’s 1978 film, Jubilee. Selections of her earliest known paintings and works on paper made in the early ‘80s while living in Berlin will be exhibited alongside works made up until the present, with approximately eighty pieces on view from County’s studio as well as several private collections. A presentation of related ephemeral materials from County’s archive, as well as photographs by Bob Gruen, Leee Black Childers, and Michael Fox will accompany the exhibition and further illuminate her legendary contributions to music, film, performance, as well her role as forebear and gender pioneer as the first openly transgender rock performer. -
Hooked on Reality Television: the Uses and Gratifications
SURVIVOR AND OTHER REALITY T.V. GAMESHOWS: THE USES AND GRATIFICATIONS PERSPECTIVE ON A REALITY SUB-GENRE by James A. Mead A Thesis submitted in Partial Fulfillment of the requirement for The Master of Mass Communication Degree Thesis Chair: Dr. William Cassidy THE UNIVERSITY OF WISCONSIN-WHITEWATER May 3, 2006 The University of Wisconsin-Whitewater Thesis Approved James A. Mead Date: Committee Members: Table of Contents Abstract of Thesis vi Chapter One: Introduction 1 Chapter Two: Literature Review 6 Introduction 6 Uses and Gratifications Perspective 6 Early History of Media Gratification 7 Development of Uses and Gratifications Theory 9 Extensions into Uses and Gratifications 10 Summary of Uses and Gratifications Theory 12 Television Popularity and the Audience 12 A Historical Review of the Television Genre 13 Reality TV: The Genre of Today 15 Reality TV: A Brief History 16 Understanding Reality Television Popularity 17 The Sub-Genres of Reality Television 20 Summary of the Television-Viewer Relationship 22 Chapter Three: Identifying Survivor as a Reality Icon 23 Introduction 23 The Survivor Gameplan 24 Motive One: Serial Format 25 Motive Two: Quality 27 Motive Three: Entertainment 28 Motive Four: Arousal 31 Motive Five: Sexual Interaction 31 Summary of Survivor’s Popularity 34 Restatement of Research Questions 34 iii Table of Contents (continued) Chapter Four: Methodology 36 Sample 36 Procedures 36 Survey Structure 36 Data Collection 38 Measures 39 Respondent Profiles 40 Summary of Methodology 42 Chapter Five: Results 44 Summary of -
Andy Higgins, BA
Andy Higgins, B.A. (Hons), M.A. (Hons) Music, Politics and Liquid Modernity How Rock-Stars became politicians and why Politicians became Rock-Stars Thesis submitted for the degree of Ph.D. in Politics and International Relations The Department of Politics, Philosophy and Religion University of Lancaster September 2010 Declaration I certify that this thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere 1 ProQuest Number: 11003507 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 com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003507 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract As popular music eclipsed Hollywood as the most powerful mode of seduction of Western youth, rock-stars erupted through the counter-culture as potent political figures. Following its sensational arrival, the politics of popular musical culture has however moved from the shared experience of protest movements and picket lines and to an individualised and celebrified consumerist experience. As a consequence what emerged, as a controversial and subversive phenomenon, has been de-fanged and transformed into a mechanism of establishment support.