Slowed and Throwed: Records of the City Through Mutated Lenses March 6–June 7, 2020

Total Page：16

File Type：pdf, Size：1020Kb

Teacher Guide Slowed and Throwed: Records of the City Through Mutated Lenses March 6–June 7, 2020 Tomashi Jackson. Forever 21: The Essence of Innocence Suite, 1: Give Me the Reason (To Forgive)(Texas Courtroom)(DC Classroom), 2: Give Me the Reason (To Forget)(Texas Courtroom), 3: Give Me the Reason (Tell Me How)(Detroit, Cleveland, Ferguson), 2015. Single-channel video collage: color, sound, 7:34 minutes, edition of 3. Courtesy Tilton Gallery New York, New York. CAMH.ORG @camhouston #atCAMH #SlowedandThrowed Teacher Guide Exhibition Overview Slowed and Throwed: Records of • Slowed and Throwed is a two-part interdisciplinary exhibition orbiting around the legacy of the late the City Through Mutated Lenses Houston legend DJ Screw. March 6, 2020–June 7, 2020 • DJ Screw produced his “chopped and screwed” technique—reducing pitch, slowing tempo, distorting input, and chopping lyrics to produce new meanings—by using two turntables to slow down and layer hip hop tempos. • The exhibition features unconventional photography and new media created by strategies paralleling the musical methods of the innovative DJ. In their photo-adjacent practices the visual artists appropriate, mash-up, collage, and mutate photographic inputs, in addition to slowing time. • All of the participating artists in Slowed and Throwed are Houston-affiliated—either from or at some point based in the city. • The physical and conceptual core of the exhibition are the collection of DJ Screw archival materials from the University of Houston. They will be displayed in a gallery built to mirror the edifice of the original Screwed Up Records & Tapes on Houston’s Cullen Boulevard. Key Questions • How have visual artists been inspired by music? What examples can you find through history? • How have visual artists and musicians worked together to create new work? • What other places are defined by a specific musical genre? • How can a specific place influence an artwork? What are some examples of works inspired by a city? Tay Butler. SLAMA (detail), 2020. Digital collage, dimensions variable. Courtesy the artist. Curriculum Connections Visual Art | Choose a favorite song or musician. Inspired by either their lyrics, technique, or life— create a visual artwork. Music | How have certain genres of music come to be associated with different cities or regions? Choose a region and a matching genre of music. Do some research on the history of the association. Who are their key musical figures? History | Research a contemporary figure that has had a large influence in your city. This could be an artistic, political, or historical impact. Why did you Jimmy Castillo. Mendoza’s Bakery, 2019. Digital inkjet print, 20 x 30 inches. Courtesy the artist. choose this person? Are they well-known beyond your city? How have they made a difference? Share this information with your classmates and learn about other local figures..

Copy Link

Recommended publications

Sonic Necessity-Exarchos
Sonic Necessity and Compositional Invention in #BluesHop: Composing the Blues for Sample-Based Hip Hop Abstract Rap, the musical element of Hip-Hop culture, has depended upon the recorded past to shape its birth, present and, potentially, its future. Founded upon a sample-based methodology, the style’s perceived authenticity and sonic impact are largely attributed to the use of phonographic records, and the unique conditions offered by composition within a sampling context. Yet, while the dependence on pre-existing recordings challenges traditional notions of authorship, it also results in unavoidable legal and financial implications for sampling composers who, increasingly, seek alternative ways to infuse the sample-based method with authentic content. But what are the challenges inherent in attempting to compose new material—inspired by traditional forms—while adhering to Rap’s unique sonic rationale, aesthetics and methodology? How does composing within a stylistic frame rooted in the past (i.e. the Blues) differ under the pursuit of contemporary sonics and methodological preferences (i.e. Hip-Hop’s sample-based process)? And what are the dynamics of this inter-stylistic synthesis? The article argues that in pursuing specific, stylistically determined sonic objectives, sample-based production facilitates an interactive typology of unique conditions for the composition, appropriation, and divergence of traditional musical forms, incubating era-defying genres that leverage the dynamics of this interaction. The musicological inquiry utilizes (auto)ethnography reflecting on professional creative practice, in order to investigate compositional problematics specific to the applied Blues-Hop context, theorize on the nature of inter- stylistic composition, and consider the effects of electronic mediation on genre transformation and stylistic morphing.
[Show full text]
Slowed and Throwed: Records of the City Through Mutated Lenses Scholar of African American Culture Thursday, March 5 Members Preview | 6–7PM Public Opening | 7–9PM
These events are free, Public open to the public, and take “If nothing else, Screw culture was a Programs place at Contemporary love letter to Houston, a sonic rendering Slowed and Arts Museum Houston. Seating is limited. Please of the illegibility of Houston’s Black check camh.org for the Throwed most current information. communities made legible by slowing it down.” March 6–June 7, 2020 —Dr. Regina N. Bradley, Opening Reception | Slowed and Throwed: Records of the City Through Mutated Lenses Scholar of African American culture Thursday, March 5 Members Preview | 6–7PM Public Opening | 7–9PM Art at Noon | Lance Scott Walker Friday, March 6 | Noon–1PM In Conversation | Patricia Restrepo, CAMH Exhibitions Manager and Assistant Curator, with artists Tay Butler, Robert Hodge, and Ayanna Jolivet Mccloud Saturday, March 7 | 11AM–Noon Open Studio | Community Remix Saturday, March 7 | 2–4PM Karen Navarro. Fragment Tom Van Laan, Joe and Anderson Foundation, (detail), 2019. Archival Johanne Gatto, Blakely National Endowment for Family Day and Teen Council-organized Fashion Show inkjet print, wood, and and Trey Griggs, Kerry the Arts, The Sarofim epoxy. 48 x 56 inches. Inman and Denby Auble, Foundation, Louisa Saturday, March 21 | 1–4PM Courtesy the artist Louise Jamail, Page Stude Sarofim, Susan and Foto Relevance, Kempner, Dillon A. Kyle Vaughan Foundation, 5216 Montrose Boulevard Houston, Texas. and Sam L. Lasseter, Bryn Texas Commission on the Open Studio | Making Beats Houston, Texas 77006 Larsen, Erica and Benjy Arts, Vinson & Elkins LLP, @camhouston Slowed and Throwed: Levit, Marian Livingston, Wallace S. Wilson, The Saturday, April 4 | 2–4PM CAMH.ORG Records of the City Lucinda and Javier Loya, Wortham Foundation, Inc., #atCAMH Through Mutated Lenses Catherine and George Marion and David Young, #SlowedandThrowed is made possible in part Masterson, Elisabeth Michael Zilkha.
[Show full text]
Communication Design Quarterly
Online First 2018 Communication Design Quarterly Published by the Association for ComputingVolume Machinery 1 Issue 1 Special Interest Group for Design of CommunicationJanuary 2012 ISSN: 2166-1642 DJs, Playlists, and Community: Imagining Communication Design through Hip Hop Victor Del Hierro University of Texas at El Paso [email protected] Published Online October 17, 2018 CDQ 10.1145/3274995.3274997 This article will be compiled into the quarterly publication and archived in the ACM Digital Library. Communication Design Quarterly, Online First https://sigdoc.acm.org/publication/ DJs, Playlists, and Community: Imagining Communication Design through Hip Hop Victor Del Hierro University of Texas at El Paso [email protected] ABSTRACT INTRODUCTION This article argues for the inclusion of Hip Hop communities in Recent work in Technical/Professional Communication has made technical communication research. Through Hip Hop, technical calls for expanding the field by turning to social justice through communicators can address the recent call for TPC work to expand culturally sensitive and diverse studies that honor communities the field through culturally sensitive and diverse studies that honor and their practices (Agboka, 2013; Haas, 2012; Maylath et communities and their practices. Using a Hip Hop community al., 2013). While this work pushes our field toward important in Houston as a case study, this article discusses the way DJs ethical responsibilities, it also helps build rigorous research operate as technical communicators within their communities. and methods that help meet the needs of already globalized and Furthermore, Hip Hop DJs build complex relationships with complex communication praxis (Walton, Zraly, & Mugengana, communities to create localized and accessible content.
[Show full text]
Westminsterresearch Sonic Necessity and Compositional Invention in #Blues-Hop: Composing the Blues for Sample-Based Hip-Hop Exar
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Sonic Necessity and Compositional Invention in #Blues-Hop: Composing the Blues for Sample-Based Hip-Hop Exarchos, M. This is an electronic version of a paper presented at the New Zealand Musicological Society Annual Conference, Hamilton, New Zealand, 19 to 20 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] New Zealand Musicological Society Annual Conference Contemporary and Future Paths in Music Performance, Composition and Analysis Sonic Necessity and Compositional Invention in #Blues-Hop: Composing the Blues for Sample-Based Hip-Hop Michail Exarchos, London College of Music, University of West London Abstract Rap, the musical element of Hip-Hop culture, has depended upon the ‘recorded’ past to shape its birth, present and, potentially, its future. Founded upon a sample-based methodology, the style’s perceived authenticity and sonic impact are largely attributed to the use of phonographic records, and the unique conditions offered by ‘composition’ within a sampling context. Yet, while the dependence on pre-existing recordings chal- lenges traditional notions of authorship, it also results in unavoidable legal and ﬁnancial implications for sampling composers who, increasingly, seek alternative ways to infuse the sample-based method with authentic content.
[Show full text]
University of Houston Oral History of Houston Project Houston History
HHA# 00812 Interviewee: Obi, Anthony Interview Date: March 25, 2013 University of Houston Oral History of Houston Project Houston History Interviewee: Anthony “Fat Tony” Obi Interview Date: March 25, 2013 Place: Agora on Westheimer, Houston, Texas Interviewer: Narmi Mena Transcriber: Michelle Kokes Keywords: Fat Tony, Anthony Obi, hip hop culture, hip hop music, rap music, EPs, mixtapes, solo artists, independent artists, 2000s, Hollywood Floss, Roc-a- fella Records, Cam‟Ron, Juelz, DIY music, 80s punk rock, DIY punk, Minor Threat, Black Flag, the Ramones, DJ Screw, UGK, Prince, chopped and screwed, Rap-A-Lot Records, Geto Boys, Scarface, Devin the Dude, Odd Squad, South Park Coalition, SPC, Swishahouse, Chamillionaire, Paul Wall, Mike Jones, VICE News, VICE Documentaries, Black Panthers, Houston rap, Houston music scene, Carnegie Vanguard High School, experimental music, local music, regional music, southern rap, southern culture, mainstream rap, A$AP Rocky, Kendrick Lamar, Drake, Purple Swag, marijuana, lean, purple drank, codeine, drug culture, Lil Wayne, SCREWDARGAB, RABDARGAB, OG Ron C, Youtube, Rice University, culture, music industry, 1990s, 1980s, Compton, Los Angeles, New Orleans, Lil B, Childish Gambino, Riff Raff, Fitzgerald‟s, Free Press Summer Fest Abstract: Anthony Obi is a Houston native Nigerian-American rap artist that goes by the name “Fat Tony.” Having an interest in music since a very young age, Fat Tony began making music with a group of friends during his high school years. After the group‟s disbandment Fat Tony released his first song called “Love Life” while collaborating with local artist Hollywood Floss. Fat Tony cites his earliest influences to an early 2000s single called “Oh Boy” by Cam‟Ron and Juelz, two Roc-a- fella Records artists.
[Show full text]
Mad Dogs and Englishness Popular Music and English Identities
Mad Dogs and Englishness Popular Music and English Identities EDITED BY LEE BROOKS, MARK DONNELLY AND RICHARD MILLS This ebook belongs to gabriele marino ([email protected]), purchased on 15/10/2019 BLOOMSBURY ACADEMIC Bloomsbury Publishing Inc 1385 Broadway, New York, NY 10018, USA 50 Bedford Square, London, WC1B 3DP, UK BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in 2017 Paperback edition published 2019 Copyright © Lee Brooks, Mark Donnelly and Richard Mills, 2017 Cover design: Lee Brooks All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Bloomsbury Publishing Inc does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. ISBN: HB: 978-1-5013-1125-3 PB: 978-1-5013-5202-7 ePDF: 978-1-5013-1126-0 ePub: 978-1-5013-1127-7 Names: Brooks, Lee. | Donnelly, Mark, 1967- | Mills, Richard, 1964- Title: Mad dogs and Englishness: popular music and English identities / edited by Lee Brooks, Mark Donnelly and Richard Mills. Description: New York, NY: Bloomsbury Academic, 2017. | Includes bibliographical references and index. Identiﬁ ers: LCCN 2017013601 (print) | LCCN 2017017214 (ebook) | ISBN 9781501311260 (ePDF) | ISBN 9781501311277 (ePUB) | ISBN 9781501311253 (hardcover: alk.
[Show full text]
He Is Called the Originator for Creating the Slowed-Down Tempo Known As
He is called the Originator for creating the slowed-down tempo customized cars that were slow, loud and banging. In the cars were fans known as “chopped and screwed,” an inventive musical language that seeking music — DJ Screw’s homemade underground cassette tapes. At propelled hip hop in a new direction and solidified the city of Houston’s one point he was raking in an estimated $15,000 per day from cassette reputation as an epicenter of rap. sales, sometimes more than that, selling between 10,000 to 15,000 With two turntables on either side of him, DJ Screw would manually copies in a single day. manipulate vinyl albums, slowing down the tempo and maintaining the Often inside the house were any number of SUC members, including glacial pace on recordings that could last over an hour. In 1999, DJ Screw C-Note, Will-Lean and the Botany Boyz, Lil’ Flip, Big Pokey, Big Hawk, said he “let my fingers do the talking.” He would invite his friends, who Big Moe, Fat Pat, Lil’ Keke and others. would later be known as the Screwed Up Click (SUC), to freestyle while he Wall said nothing on the radio stirred the excitement of a Screw tape recorded the final product on his celebrated Screw tapes. with that rap collective on it. “He would just slow down the tempo of everything. It would just take “When you got a new Screw tape or something new from DJ Screw you to a place where it would just put you in a trance,” said Grammy- you’d come share it with everyone and say ‘Hey! Have you heard nominated Houston rapper and UH alum Paul Wall, who was a teenager in the new one? I bet you haven’t heard this one.
[Show full text]
Microgenres MOUG 2021 Presentation (6.531Mb)
Microgenres Memory, Community, and Preserving the Present Leonard Martin Resource Description Librarian Metadata and Digitization Services University of Houston Brief Overview • Microgenres as a cultural phenomenon. • Metadata description for musical microgenres in a library environment using controlled vocabularies and resources. • Challenges and resources for identifying and acquiring microgenre musical sound recordings. • This presentation will focus on chopped and screwed music, vaporwave music, and ambient music. Microgenre noun /mi ∙ cro ∙ gen ∙ re/ 1. A hyper-specific subcategory of artistic, musical, or literary composition characterized that is by a particular style, form, or content. 2. A flexible, provisional, and temporary category used to establish micro- connections among cultural artifacts, drawn from a range of historical periods found in literature, film, music, television, and the performing and fine arts. 3. A specialized or niche genre; either machine-classified or retroactively established through analysis. Examples of Musical Microgenres Hyper-specific • Chopped and screwed music Flexible, provisional, and temporary • Vaporwave music Specialized or niche • Ambient music Ambient Music • Ambient music is a broad microgenre encompassing a breath of natural sounds, acoustic and electronic instruments, and utilizes sampling and/or looping material Discreet Music, Discreet Music, by Brian Eno, 1975, EG Records. to generate repetitive soundscapes. • Earlier works from Erik Satie’s musique d’ameublement (furniture music) to the musique concrete works of Éliane Radigue, Steve Reich’s tape pieces, and synthesizer albums of Wendy Carlos are all precursors of ambient music. • The term ambient music was coined by composer Brian Eno upon the release of Michigan Turquoise, Catch a Blessing. 2019. Genre tags: devotional, ambient, his album, “Discreet Music,” in 1975.
[Show full text]
Press Release Exhibition Slowed and Throwed
5216 Montrose Boulevard Houston, Texas 77006 CAMH.ORG | #atCAMH Press Release Exhibition Slowed and Throwed: Records of the City Through Mutated Lenses January 21–April 11, 2021 DJ Screw in his home studio. Courtesy SoSouth Music Distribution. Photo by Ben DeSoto ©1995. HOUSTON, TEXAS (January 6, 2021)—Contemporary Arts Museum Houston #SlowedandThrowed (CAMH) is pleased to present Slowed and Throwed: Records of the City #atCAMH Through Mutated Lenses, the first museum exhibition with a conceptual focus @camhouston on the late Houston hip hop legend DJ Screw. The exhibition explores visual arts practices that parallel the musical methods of this innovative DJ and feature unconventional photography and new media works by artists with Media Contact For high-resolution images or media personal ties to Houston, including B. Anele, Rabéa Ballin, Tay Butler, Jimmy inquiries, please contact: Castillo, Jamal Cyrus, Robert Hodge, Shana Hoehn, Tomashi Jackson, Ann Kent Michael Smith, Director of Johnson, Devin Kenny, Liss LaFleur, Karen Navarro, Ayanna Jolivet Mccloud, Communications and Marketing Sondra Perry, and Charisse Pearlina Weston. The exhibition opening coincides [email protected] | 713.284.8255 with the Museum’s limited reopening for Museum Members on Thursday, 1 5216 Montrose Boulevard Houston, Texas 77006 CAMH.ORG | #atCAMH Press Release January 21, 2021 and public reopening on January 22. The exhibition will remain on view through Sunday, April 11, 2021. The Museum will employ comprehensive COVID-19 safeguards to ensure the health of our staff and the public. Slowed and Throwed: Records of the City Through Mutated Lenses is a two- part interdisciplinary exhibition orbiting around the legacy of the late Houston legend DJ Screw.
[Show full text]
Xiami Music Genre 文档
xiami music genre douban 2021 年 02 月 14 日 Contents: 1 目录 3 2 23 3 流行 Pop 25 3.1 1. 国语流行 Mandarin Pop ........................................ 26 3.2 2. 粤语流行 Cantopop .......................................... 26 3.3 3. 欧美流行 Western Pop ........................................ 26 3.4 4. 电音流行 Electropop ......................................... 27 3.5 5. 日本流行 J-Pop ............................................ 27 3.6 6. 韩国流行 K-Pop ............................................ 27 3.7 7. 梦幻流行 Dream Pop ......................................... 28 3.8 8. 流行舞曲 Dance-Pop ......................................... 29 3.9 9. 成人时代 Adult Contemporary .................................... 29 3.10 10. 网络流行 Cyber Hit ......................................... 30 3.11 11. 独立流行 Indie Pop ......................................... 30 3.12 12. 女子团体 Girl Group ......................................... 31 3.13 13. 男孩团体 Boy Band ......................................... 32 3.14 14. 青少年流行 Teen Pop ........................................ 32 3.15 15. 迷幻流行 Psychedelic Pop ...................................... 33 3.16 16. 氛围流行 Ambient Pop ....................................... 33 3.17 17. 阳光流行 Sunshine Pop ....................................... 34 3.18 18. 韩国抒情歌曲 Korean Ballad .................................... 34 3.19 19. 台湾民歌运动 Taiwan Folk Scene .................................. 34 3.20 20. 无伴奏合唱 A cappella ....................................... 36 3.21 21. 噪音流行 Noise Pop ......................................... 37 3.22 22. 都市流行 City Pop .........................................
[Show full text]
1 GRAAT On-Line Occasional Papers – December 2008 Representing The
GRAAT On-Line Occasional Papers – December 2008 Representing the Dirty South: Parochialism in Rap Music David Diallo Université Montesquieu – Bordeaux IV In this article, divided into two parts, I examine the parochial discourse of rap musicians from the Dirty South and study its symbolic stakes through a socio- historical analysis of hip-hop’s cultural practices. First, I address the importance for Southern hip hop musicians of mentioning their geographic origins. They develop slang, fashion style, musical and lyrical structures meant to represent the Dirty South. In part II, I examine the Dirty South rap scene, and point out some of its characteristics and idiosyncrasies. Rap historians generally consider that, before 1979, hip hop was a local phenomenon that had spread out geographically in poor neighborhoods around New York (Ogg 2002, Fernando 1994, George 2001). Chronologically, Kool Herc, using the principle of Jamaican sound system, defined the norms of reference for hip hop deejaying and determined the standard way to accomplish this practice. His style and technique established the elemental structure of rap music and determined the “proper” way to make rap. It is particularly interesting to note that the emerging sound system scene in the Bronx was spatially distributed as follows. Kool Herc had the West Side, Afrika Bambaataa had Bronx River, and Grandmaster Flash had the South Bronx, from 138 th Street up to Gun Hill. This parting of the Bronx into sectors (DJs’ territories) distinguished the locations that covered the key operative areas for the competing 1 sound systems. This spatial distribution reveals rap music’s particular relationship to specified places.
[Show full text]
Desde Conjunto to Chingo Bling: Mexican American Music and Musicians in Houston by Natalie Garza
On a packed night at the Pan-America, patrons of various ages enjoy live music played by Mexican and Mexican American bands. Photo courtesy of the Houston Metropolitan Research Center, Houston Public Library. Desde Conjunto to Chingo Bling: Mexican American Music and Musicians in Houston By Natalie Garza eet start tapping and people are drawn to the dance American music scene in Houston has benefitted from lo- Ffloor by the upbeat polka sound of the accordion and cally grown talent that meets the cultural and entertainment the bajo sexto keeping rhythm. Men wearing tailored suits needs of its community by integrating a variety of musical lead women in strappy sandals or black heels as the mid- stylings and genres. calf hemlines of their dresses flow with every spin. In the The 1930s witnessed a boom of Mexican American midst of the music, crowds are heard chatting at their tables musicians in Houston dominated by two forms of music, seamlessly transitioning between English and Spanish, and the conjunto and orquesta Tejana. This regionally grown as if part of the ambient sound, the clanking of beer bottles music became known collectively as música Tejana, defined carried by thirsty patrons fills the air. In 1930s Houston, by historian Guadalupe San Miguel Jr. as all the musical Mexican Americans enjoyed this vibrant atmosphere on any forms and styles listened to by Tejanos since the nineteenth given weekend. Over the last nine decades, the Mexican century, rather than a single genre.1 One of the most recog- 2 HOUSTON HISTORY Vol. 11 • No.1 nizable identifiers of the conjunto is the use of the bajo sexto and accordion.
[Show full text]