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Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
De Rothschild' Convicted, Faces up to Eight Years in Prison
NASty boys (and girls) £~ The local NAS chapter elected J.D. Barber and eight others to its board of directors. See page 3 THE CHRONICLE for the run down. K7^3§i&&-:^& THURSDAY, NOVEMBER 15. 1990 DUKE UNIVERSITY DURHAM. NORTH CAROUNA CIRCULATION: 15.000 VOL. 86. NO. 58 'De Rothschild' convicted, faces up to eight years in prison By BEAU DURE The jury deliberated for little case," said Matthew Martin, University Federal Credit Union, born on Nov. 1, 1952, in El Paso, GREENSBORO — The man more than an hour before return Rothschild's attorney. "I think two to obtain a line of credit one Texas. who posed as a member of the ing with the verdict shortly after Maurice has some things to say to obtain a credit card, and one Two additional charges involv French nobility at Duke was noon. Rothschild, barely recog that were worth saying." instance of providing false infor ing credit card applications were found guilty of fraud on Wednes nizable through his dark glasses, Rothschild is expected later to mation to Wachovia Bank and dropped during Tuesday's day. had no noticeable reaction to the stand trial in Durham County for Trust Co. for a line of credit. In proceedings. Maur Jeffrey Locke announcement ofthe verdict. charges of embezzlement from each instance, Rothschild was ac Rothschild testified on Tues Rothschild, formerly Mauro Cor Testimony began and ended on the Duke-Rinaldi fund, a private cused of stating his name of "M. day, claiming he suffered from tez, alias Baron Maurice de Tuesday. Both sides presented charity fund established on be de Rothschild" or "Baron M. -
REVIEWS January 2016 1
Open Inquiry Archive—REVIEWS January 2016 1 Open Inquiry Archive ISSN 2167-8812 http://openinquiryarchive.net January 2016 REVIEWS ________________________________________________________________________________________________ David Grubbs. "Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording." Durham, NC: Duke University Press, 2014. Reviewed by: Alexandra Hui (AssoCiate Professor of History at Mississippi State University, head of the History of SCienCe, TeChnology, and MediCine field, and Core FaCulty of the Center for the History of AgriCulture, SCienCe, and the Environment in the South) David Grubbs is an AssoCiate Professor at Brooklyn College Conservatory of MusiC. SuCh trappings of tenure and domestiCation should not, however, fool you. From his first flights as part of the punk band Squirrel Bait in his teen years to his founding membership with the ChiCago experimental musiC group Gastr del Sol to his ongoing collaborations with Tony Conrad, Pauline Oliveros, the Red Krayola, and many more, Grubbs is as muCh a musician as an academiC. He is also as muCh a ravenous, easily- distraCted, tiCkled-by-the-obsCure listener of the present as an exCeedingly thoughtful and eminently readable historian of sounds past. These many identities are mobilized in Grubbs’ delightful new book, Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording. The book begins and ends with disCussions of his own listening experienCes, in the past as a graduate student in ChiCago slinking around the free jazz and improvised musiC scene and presently, attempting to navigate the infinitude of listening possibilities on DRAM with some semblance of disCipline. In a way, this gives the book a narrative arC.1 But the very premise of Records Ruin the Landscape is a folding — a knotting even — of temporality. -
1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P
Bob Dylan’s American Journey, 1956-1966 September 29, 2006, through January 6, 2007 Exhibition Labels Exhibit Introductory Panel I Think I’ll Call It America Born into changing times, Bob Dylan shaped history in song. “Life’s a voyage that’s homeward bound.” So wrote Herman Melville, author of the great tall tale Moby Dick and one of the American mythmakers whose legacy Bob Dylan furthers. Like other great artists this democracy has produced, Dylan has come to represent the very historical moment that formed him. Though he calls himself a humble song and dance man, Dylan has done more to define American creative expression than anyone else in the past half-century, forming a new poetics from his emblematic journey. A small town boy with a wandering soul, Dylan was born into a post-war landscape of possibility and dread, a culture ripe for a new mythology. Learning his craft, he traveled a road that connected the civil rights movement to the 1960s counterculture and the revival of American folk music to the creation of the iconic rock star. His songs reflected these developments and, resonating, also affected change. Bob Dylan, 1962 Photo courtesy of John Cohen Section 1: Hibbing Red Iron Town Bobby Zimmerman was a typical 1950’s kid, growing up on Elvis and television. Northern Minnesota seems an unlikely place to produce an icon of popular music—it’s leagues away from music birthplaces like Memphis and New Orleans, and seems as cold and characterless as the South seems mysterious. Yet growing up in the small town of Hibbing, Bob Dylan discovered his musical heritage through radio stations transmitting blues and country from all over, and formed his own bands to practice the newfound religion of rock ‘n’ roll. -
Lasse Marhaug & Incapacitants Music Writing
nyMusikk vårprogram 2015 nyMusikk + All Ears nyMusikk + Borealis 9. januar Lasse Marhaug & 9. mars Borealis preview To høydepunkter fra programmet til årets Incapacitants Borealisfestival: Den eksperimentelle Støypioner Marhaug i samtale med den trubaduren Richard Dawson + cellovirtuosen ikoniske japanske støyduoen Incapacitants. Oliver Coates med Chrysanthemum Bear. nyMusikk kl. 14:00. Gratis, lett servering. Blå kl. 20:00. Kr 150 / 100 (medl.) nyMusikk + Big Bang 23. januar Music writing masterclass 10. – 11. april Musikkmagasinet The Wire holder skrivekurs nyMusikk Kids: i musikkjournalistikk og musikkritikk. Påmelding: [email protected]. Stavanger Konserthus Kunstnernes Hus kl. 11:00-16:00. iPad-workshop for barn 6 - 12 år som del av den Kr 350/250 (stud.) europeiske barnemusikkfestivalen Big Bang. Program: stavanger-konserthus.no 23. januar David Grubbs nyMusikk + Henie Onstad Kunstsenter Off The Page kick-off solokonsert med grunnleggeren av Squirrel Bait, Bastro og Lene Grenager på HOK: Gastr del Sol. The Wire Sound System DJs. Last Train kl. 22:00. Kr 100/gratis (medl.) 10. mai Ensemble Zwischentöne Konsertdag i forbindelse med Melgaard/ Rickhard-utstillingen. Et av verdens fremste nyMusikk + The Wire 24. januar samtidsmusikkensembler, Ensemble Off The Page Oslo Zwischentöne, urfremfører et nytt verk av Musikkfestival uten musikk: Samtaler, foredrag, Lene Grenager. Jon Wesseltoft-solo i performance, film og musikkmarked. Melgaard-utstillingen. Kunstnernes Hus kl. 11: 00 – 22:00. Kr 250 / 150 Henie Onstad Kunstsenter kl. 14.00. Kr 80/50. 1. februar nyMusikk Kids: Ilios Only Connect iPad-workshop for barn 6 - 12 år med slagverker 4. – 7. juni Eirik Raude. Påmelding til [email protected]. Festival Of Sound Galleri NordNorge, Harstad kl. -
The History of Rock Music - the Nineties
The History of Rock Music - The Nineties The History of Rock Music: 1995-2001 Drum'n'bass, trip-hop, glitch music History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Post-post-rock (These are excerpts from my book "A History of Rock and Dance Music") The Louisville alumni 1995-97 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The Squirrel Bait and Rodan genealogies continued to dominate Kentucky's and Chicago's post-rock scene during the 1990s. Half of Rodan, i.e. Tara Jane O'Neil (now on vocals and guitar) and Kevin Coultas, formed Sonora Pine with keyboardist and guitarist Sean Meadows, violinist Samara Lubelski and pianist Rachel Grimes. Their debut album, Sonora Pine (1996), basically applied Rodan's aesthetics to the format of the folk lullaby. Another member of Rodan, guitarist Jeff Mueller, formed June Of 44 (11), a sort of supergroup comprising Sonora Pine's guitarist Sean Meadows, Codeine's drummer and keyboardist Doug Scharin, and bassist and trumpet player Fred Erskine. Engine Takes To The Water (1995) signaled the evolution of "slo-core" towards a coldly neurotic form, which achieved a hypnotic and catatonic tone, besides a classic austerity, on the mini-album Tropics And Meridians (1996). Sustained by abrasive and inconclusive guitar doodling, mutant rhythm and off-key counterpoint of violin and trumpet, Four Great Points (1998) metabolized dub, raga, jazz, pop in a theater of calculated gestures. -
Elliott Murphy the Last Rock Star
NOVELA MEMORIAS VARASEK POESÍA EDICIONES ON THE ROAD Título original: The Last Rock Star Dirección de arte y coordinación editorial: Beatriz Ruibal Diseño gráfico: Jaime Narváez Maquetación: Juanjo Pérez Corrección: Bruno Montané ELLIOTT Foto portada: Lluís Oliver Fotografía contraportada: Jack Mitchell MURPHY © 2019, Elliott Murphy © 2019, de la presente edición en castellano para todo el mundo: Varasek Ediciones, S.L. THE 1.ª edición, Madrid diciembre, 2019 © Varasek Ediciones S. L. Cava Baja, 24, 2.° Dcha. 28005, Madrid, España www.varasekediciones.es LAST © 2019, Peter Redwhite, por la traducción de Tramps y The Last Rock Star © 2019, Antonio Cordero y Marcos Canteli por las traducciones de los poemas y dos canciones ROCK © 2019, Santiago Alcanda por el Prólogo «Cuando no llueve» y listado hipotético de canciones que suenan en la novela Tramps STAR © de la fotografía de cubierta Lluís Oliver. Cortesía de Jorge Arenillas © de la fotografía de contraportada Jack Mitchell. Cortesía de Elliott Murphy MEMORIAS DE Créditos fotográficos: UN OUTSIDER Cortesía del archivo personal de Elliott Murphy: 250, 253, 257, 258, 262, 265, 267, 270, 271, 272, 280, 286, 290, 295, 298, 300, 308, 310, 311, 312, 314, 320, 325, 326, 327, 343, 345, 346, 347, 352, 356, 360, 361, 362,370, 376, 378, 381, 382, 392, 397, 400, 401, 404, 406, 412, 413, 421, 422, 424, 429, 430, 432, 436, 438, 439, 451, 461, 462, 466, 475 © Françoise Viallon-Murphy: 295, 475 © Mark Russo: 329, 330 © Vincent Lignier: 461 TRADUCCIÓN DE © Paul Waldman: 414 © Kate Simon: 418, 441 © Denys Schelfhaut: 447 © Nathalie Vergez: 294 PETER REDWHITE © David Godichaud: 467 © Michel Jolyot: 468 © Pierre Villard: 471 © J. -
The Wolfe Institute the Ethyle R
The Wolfe Institute The Ethyle R. Wolfe Institute for the Humanities, in cooperation with the English Department and the MFA Intergenre Reading Series, presents David Grubbs and Anna Rabinowitz David Grubbs is professor of music at Brooklyn College and the Graduate Center, CUNY. At Brooklyn College he also teaches in the MFA programs in Performance and Interactive Media Arts (PIMA) and Creative Writing. He is the author of Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording (Duke University Press), which has recently been translated into French, Italian, and Japanese. Grubbs has released thirteen solo albums and appeared on more than 150 commercially-released recordings, the most recent of which is Prismrose (Blue Chopsticks, 2016). In 2000, his The Spectrum Between (Drag City) was named “Album of the Year” in the London Sunday Times. He is known for his cross-disciplinary collaborations with writers Susan Howe and Rick Moody, visual artists Anthony McCall, Angela Bulloch, and Stephen Prina, and choreographer Jonah Bokaer, and his work has been presented at, among other venues, the Solomon R. Guggenheim Museum, MoMA, the Tate Modern, and the Centre Pompidou. Grubbs was a member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and has performed with the Red Krayola, Will Oldham, Tony Conrad, Pauline Oliveros, and Loren Connors, and many others. He is a grant recipient from the Foundation for Contemporary Arts, a contributing editor in music for BOMB Magazine, and director of the Blue Chopsticks record label. Anna Rabinowitz is a prize-winning poet and librettist. Her fifth volume of poetry isWords On the Street (Tupelo Press, 2016). -
John Strohm President of Rounder Records
Electronically Filed Web V Hearing Ex. 5622 Docket: 19-CRB-0005-WR (2021-2025) Filing Date: 03/10/2020 09:34:42 PM EDT Before the UNITED STATES COPYRIGHT ROYALTY JUDGES Washington, D.C. In re Determination of Rates and Terms for Docket No. 19-CRB-0005-WR Digital Performance of Sound Recordings (2021-2025) and Making of Ephemeral Copies to Facilitate those Performances (Web V) WRITTEN DIRECT TESTIMONY OF John Strohm President of Rounder Records September, 2019 Exhibit Page 1 of 13 I. Background and Qualifications 1. My name is John Strohm. Since 2017, I have been the President of Rounder Records. I am a 30-year veteran of the independent music community, including 10 years as a full- time working musician and another 10 as an artist-side lawyer. 2. I’m originally from Bloomington, Indiana. My love of music started young, and I grew up listening to a lot of great folk, blues, and jazz records (including a number of Rounder titles) with my dad. I began my music career playing drum set in Indiana’s punk rock scene. In 1985, when I was 18 years old, I left Indiana to attend Berklee College of Music in Boston. There, I switched my focus to the guitar and co-founded the alternative rock band Blake Babies with Juliana Hatfield and Freda Love. We released three full-length albums between 1987 and 1990, and toured in the U.S. and U.K. We later reunited in 2000 and our 2001 album God Bless the Blake Babies was released on the Rounder’s Zöe imprint. -
Slints Spiderland Free
FREE SLINTS SPIDERLAND PDF Scott Tennent | 144 pages | 30 Dec 2010 | Continuum Publishing Corporation | 9781441170262 | English | New York, United States Slint - Spiderland (, Vinyl) | Discogs Slint's landmark second album has been reissued in a box set that includes outtakes, live cuts, and a feature-length documentary by Lance Bangs. The record's greatest Slints Spiderland might be the boundless inspiration it perpetually provides for all the bands that have yet to emerge from the basement. And just what did Slint think their audience—who, judging from the faint smattering of applause, barely cracked the double digits— needed to hear at that moment? In many respects, the story Slints Spiderland Slint is an exceedingly familiar one of influence accruing in absentia, of mavericks who were ignored in their time and had to wait years to get their due. Through their initial existence, Slint were obscure Slints Spiderland even within the subterranean confines of the American indie-rock underground. Compared to the get-in-the-van, play-anywhere ethic practised by fellow s-hardcore students, Slint rarely performed live, and when they did, it was rarely as a headliner. Slints Spiderland were scarce; band photos all the more so. And with the similarly atmospheric, equally explosive likes of Mogwai and Godspeed You! Black Emperor dominating the lates indie-rock conversation, Slint ceased to be just some band that had broken up too soon and became an entire subgenre of Slints Spiderland unto itself. I mean, just look at the cover of the Slints Spiderland set—notice something missing? The demos practically break down Spiderland on a riff-by-riff basis, as we hear the songs devolve from pre-production dress rehearsals to rudimentary acoustic sketches recorded on cassette. -
Geföhnter Hardcore
# 2008/43 dschungel https://jungle.world/artikel/2008/43/gefoehnter-hardcore Die neue Platte von David Grubbs Geföhnter Hardcore Von Martin Büsser Squirrel Bait, diese Vereinigung 16jähriger Teenager, die Stücke über Vergil machten, kamen in den Achtzigern zu früh. Jetzt kann man sich die Pionierarbeit von Postrock retrospektiv anhören und auch, wie David Grubbs heute klingt. Für einige Menschen war die erste Hälfte der achtziger Jahre ein musikalisches Paradies. So zumindest sieht es Paul Rachman, Regisseur des viel beachteten Dokumentarfilms »American Hardcore« (2006). Von MTV und dessen Hörern völlig ignoriert, entstand zu dieser Zeit in den USA eine vitale Szene, die völlig auf sich selbst gestellt war, eigene Labels und Netzwerke hervorbrachte und innerhalb kürzester Zeit zu Hunderten von Bandgründungen führte. Doch selbst ein Fan wie Rachman kann nicht ignorieren, dass die Szene fast ausschließlich von Männern dominiert wurde, weißen Männern. Und ausgerechnet die einzige schwarze Hardcore-Band, The Bad Brains, war für ihre Schwulenfeindlichkeit berüchtigt. Von solchen gender politics einmal abgesehen, hatte die Szene allerdings noch einen ganz anderen gravierenden Schönheitsfehler: Nahezu alle Bands hörten sich gleich an. Hardcore war Ausdruck ungefilterter jugendlicher Wut, musikalische Feinheiten wurden da nicht so genau genommen. Unter rein musikalischen Gesichtspunkten ist »American Hardcore« daher auch ein sterbenslangweiliger Film, aus dessen Einheitsgeknüppel gerade einmal Black Flag, die notorisch unterschätzten Flipper und Minutemen hervorstechen. Letztgenannte seien »zu erwachsen für die Hardcore- Szene« gewesen, hatte Thurston Moore von Sonic Youth einmal gesagt. Das könnte man auch von Squirrel Bait behaupten. Liest sich aber komisch, wenn man bedenkt, dass die Musiker zur Zeit der Bandgründung gerade einmal 16 Jahre alt waren. -
MUSICAL FAMILY TREE and Get It Set up As a Proper Database
Who’s behind this? What’s up with Musicalfamilytree.com? The site was started by Jeb Banner one winter night in early 2004. he ran it off his home The site is a free archive of 1000’s of MP3’s by mostly Indie rock bands that are also computer for the first 9 months. Later Joe Downey got on board to help re-design the site mostly from Indiana. Basically it all started as a way for a group of friends who origi- MUSICAL FAMILY TREE and get it set up as a proper database. Chris Menkhaus is our loyal live show archivist nally met in Bloomington, Indiana back in the mid-1990s to share their music. Everyone had and all around great guy. Also Jenny Banner, Eric Cox, Jake Petroff and PJ Christie help these cassette tapes, DAT’s and a hand full of CD’s and we needed a communal environ- out in many ways. ment where it could all be documented and appreciated by others. Over time it has grown DELICIOUS BERRIES Margot and the Nuclear So and So’s, Everything, Now!, from a couple dozen bands to over 200. We have also followed our friends as they have VOLUME Compiled and Notes by Jeb Banner, Mastered by Carl Saff (saffmastering.com), Cover Art moved around the country, made music with new friends and then we get their friends on Mysteries of Life, John Strohm, marmoset, bigbigcar, by Jason Pierce of Mperfect Design (mperfectdesign.com). Thanks to Jason pierce and Todd the site and so on.