ROD DIXON ARTISTIC DIRECTOR: 2006 - Present
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48/Chumbawamba (Page 271)
Kultur den acht Musikern und sechs Roadies ge- len“, schrieb der „Melody Maker“, und POP teilt; fürs erste soll nun das wöchentliche selbst die Musikerkollegen und Britpop- Taschengeld der Genossen von 60 auf 200 Stars von den Manic Street Preachers ätz- Aufruhr im Pfund angehoben werden. ten: „Was für ein Schrott!“ Ihre späte Entdeckung verdanken die Dabei produzierte die Band schon da- Chumbawamba-Kumpane dem deutschen mals ein paar hervorragende Platten und Aerobic-Center EMI-Electrola-Geschäftsführer Helmut verzückte mit ihren Konzerten eine zwar Fest. Der hörte den Song „Tubthumping“ kleine, aber treue Fanschar. Im vergange- Seit 14 Jahren kämpft ein britisches auf einer für vertragslose Musiker gepreß- nen Jahr jedoch mochte auch der letzte ten Sammel-CD und holte die Band um- Plattenfirmen-Manager nicht mehr in einen Musiker-Kollektiv für die gehend zu EMI. Zuvor galten die Briten in Vertrag mit der alternden WG-Truppe in- anarchistische Weltrevolution – der Branche als hoffnungsloser Fall: eine vestieren – und daß es sich nun ausge- nun schafften Chumbawamba musizierende linksradikale Wohngemein- rechnet die EMI-Leute anders überlegten, ihren ersten Welthit. schaft, die seit ihrer Gründung 1983 mehr ist einigermaßen kurios. Deren Konzern durch flotte Systemveränderer-Sprüche zählte in den Achtzigern zu den Top-Fein- it dem Wort Anarchie verhält es auffiel als durch Hiterfolge. den aller linken Musiker, die EMI des Waf- sich ein wenig wie mit dem Wort „Anarchie heißt für uns, das System zu fenhandels und allerlei dubioser Aktivitä- MPop – jeder kennt es, doch über verändern“, doziert Boff, der Sänger, noch ten in Südafrika verdächtigten. die Idee, die damit gemeint ist, weiß man heute, „Anarchie heißt, daß jeder für sich So verteilte Chumbawamba-Gitarrist nichts Genaues. -
Breaking News: Alcohol Banned at This Year's Law Revue
the commentatorThe Student Newspaper of the New York University School of Law Volume XLIII, Number 11 March 24, 2010 Breaking News: Alcohol Banned at This Year’s Law Revue Bottles and Loud Patrons Blamed for Policy Change; Pre-Show Parties to Occur Before Every Show BY MICHAEL MIX ’11 “[Dean Richard] Revesz has auditorium aisles and from rowdy administration felt that it had searching of persons before the EDITOR -IN -CHIEF had a lot of issues in the past … crowds in general. Instead of in- no choice but to put the ban in show. In addition, to help maintain mostly because there has been such troducing the alcohol ban then, the place this year. While no alcohol some of Law Revue’s traditional Law Revue, NYU Law’s an- a culture of bottles, bottles running administration made a deal with is allowed, there will not be any place in the community, there will nual music parody, has traditionally down the aisle, bottles clinking, Law Revue in which its members be “pre-parties” before every show, been an alcohol-laden event, as and it seems like the Law Revue would police the 2009 show. These sponsored by different groups on students could bring drinks into audience has to drink as loudly as policing measures included an- Pre-Show Parties campus. A list of pre-parties can nouncements during be found in the accompanying • Apr. 7, 6:30 - 7:45 in Gold- the show, students pa- berg, hosted by student groups sidebar. trolling the aisles, and “One of the positives is that an SBA email asking • Apr. -
****10 Tag'' a BILLBOARD SPOTLIGHT: PAGE 51
$5.95 (U.S.), $6.95 (CAN.), £4.95 (U.K.), Y2,500 (JAPAN) Z04£-L0906 V3 H3V39 91101 V t 3AV W13 04LE 0911 9Zi Z (,jnjrjrjnntjjjnjnjjnjnrjnrjjrjnjnrjjnjtjj005Z£Ó33TTÓOA1tJOW 959 0919 tZ00W34L2339L0906t 906 1I9I0-£ ******* TA3J11X9t THE INTERNATIONAL NEWSWIEEKLY OF MUSIC, VIDEO, AND HOME ENTERTAINMENT REACHING 110 COUNTRIES NOVEMBER 21, 1998 THERE'S A NEW SOUND FOR THE SEASON... "Unigram' Takes Shape, But Details Unresolved V:Awn/.l-CJGf/Ief,;/I2 A Billboard staff report. The broad strokes may have been The switch has not been finalized, through" in December (Billboard, painted, but none of the lines has says a senior PolyGram executive, Nov 14). l%')Gr2P/.lIeß'i NEW YORK -While the proposed been filled in yet, says one executive but "it has essentially been agreed." "No final decisions have been involved in the consolidation process. Paul McGuinness of Dublin -based made," says Universal Music "Strikingly original." master plan to consolidate PolyGram Management says, "We do spokesman Bob Bernstein, who -- People and the Universal Music Group In fact, some of the senior label exec- Principle (UMG) into one company has been utives who are upset by how not know as of now where declines further comment. "...the best selling album of the season." revealed via press reports in advance their new roles are being certain players are going to Rank and file employees, who have --NT Times of official word, the thousands of defined in the consolidated end up. This is by no means been anxious since the deal was first details needed to make the scheme company are said to be lob- RSAL done and dusted." announced in mid -May to see how the "Amazing...powerful..." work are still being sorted out, accord- bying to overturn some of The relationship between two companies will be fitted togeth- --Scott Shannon/WPLJ ing to executives at both companies. -
1 a Provenance of Performance: Excavating New Art Histories
1 A Provenance of Performance: Excavating new art histories through a consideration of re-enactment and the perspectives of the audience. Sarah Elizabeth Wishart Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds, School of English October 2018 2 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2018 The University of Leeds Sarah Elizabeth Wishart “The right of Sarah Elizabeth Wishart to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988.” 3 ACKNOWLEDGEMENTS To Jeremy Deller and Graeme Miller who created this obsession of mine in the first place, who were always helpful, considered and discursive, thank you so very much. To my supervisor: Professor Stephen Bottoms for all his work during this never-ending part- time PhD to get me one way or another to the finish line. Thank you. To all the audiences from the screenings, focus groups & the walkers: Your anonymity was guaranteed, so I can’t thank you by name, but thank you very much for all your time and effort. Without you, this wouldn’t have happened. For all other academic and practical kinds of help I had in undertaking this research, particularly from: ACME, Iain Aitch, Felicity Armstrong, -
Sticky Settlement for Kapla N Zie Stonps Gsroom Car Wreck Kills
"Let Each Become Aware" Founded 1957, Incorporated 1976 Zie stonps gSroom I ~ I nA Volume XLI, Number 10 Thursday, October 9, 1997 First Copy Free Sticky Settlement For Kapla n PrincetonReview Orderedto Sticker Over False Promotions on Books and Progriams of dollars in legal fees, Kaplan BY BEN VARGHESE from the testimony that "Princeton Review knowingly spent tens of thousands Stcatesmcan Editor shipped products with misstatements on it, right up won nothing but our disdain, which we usually give After an all-day hearing, Kaplan and The Princeton until Kaplan brought up the lawsuit." Basili also said them for free," Cohen said. Review have finally reached a settlement agreement that Kaplan contacted The Princeton Review on Cohen said he is frustrated with Kaplan's tactics ordered by the U.S. District Court over Kaplan's September 9th about the mislabeled products,-but did to threaten the company's reputation. He pointed out lawsuit alleging that the Princeton Review was using not file the lawsuit until a week later. that a couple of years ago, The Princeton Review false promotional claims to sell books and software. "We really did try to bring the problem to their started to focus on beating Kaplan for sales, but According to the agreement, Princeton Review and attention- and hopefully get a settlement that way," according to Cohen, the company has begun to Random House, Inc. were required to sticker over three Basili said. "We went ahead with the suit because we diverge its energies with its mission now being to help false statements on the front and back covers of the weren't confident that it was going to happen." The students score higher. -
Cumulative Form in Pop-Rock Music
twentieth-century music 1/1, 29–64 © 2004 Cambridge University Press DOI: 10.1017/S1478572204000052 Printed in the United Kingdom (Ac)cumulative Form in Pop-Rock Music MARK SPICER Abstract This article examines a variety of compositional procedures that give rise to what the author defines as ‘accumulative’ and ‘cumulative’ forms in pop-rock music, formal processes which are directly linked to the rapid advances in recording technology that occurred mainly from the late 1960s to the 1980s. The article includes detailed transcriptions and analyses of pop-rock music across a wide range of styles and genres, from progressive rock to post-punk to techno. J. Peter Burkholder has coined the term ‘cumulative form’ to describe an unusual com- positional strategy in selected late nineteenth-century works, particularly in the music of Charles Ives.1 In typical large-scale eighteenth- and nineteenth-century tonal pieces (those in sonata form, for example), we expect the main theme to be stated intact at the outset – most often in the tonic key – and then subjected to various processes of fragmentation and development as the piece unfolds. In a cumulative form this typical order is reversed: thematic fragments are gradually introduced and developed, only to crystallize into a full-fledged presentation of the main theme in a climactic pay-off at the end of the piece. As Burkholder shows, prototypes of cumulative form can be found in symphonic works from early in the nineteenth century. Probably the most famous example is the finale of Beethoven’s Ninth Symphony (1823), where fragments of the ‘Ode to Joy’ are introduced long before the theme makes its first complete appearance. -
Chumbawamba ABCDEFG
Chumbawamba: Guests and Friends: Ray ‘Chopper’ Cooper cello, harmonica Jon Boden Neil Ferguson fiddle Belinda O’Hooley piano Lou Watts Harry Hamer cajon Jo Freya tenor & soprano sax Boff Whalley O’Hooley & Tidow backing vocal Whingate Ensemble Jude Abbott strings Charlie Cake Marching Band brass No Masters Co-operativists Phil Moody (melodeons, saxes, vocals, bells, assorted kitchen sinks) written, arranged and produced by Chumbawamba except ‘Dance, Idiot, Dance’ by the No Masters Co-operative recorded at Hill Top Studios, Leeds sleeve design by Boff Whalley all songs published by EMI Music Publishing gmbh 2010 ChumbaChumbawwambaamba except ‘Dance, Idiot, Dance’ by Voice Publishing 2010 [email protected] ABCDEFGABCDEFG Westpark Music Postfach 260227, 50515 Köln Westpark 87186 Tel.: 0221 24 76 44 www.chumba.com [email protected] www.WestparkMusic.de Sieben Buchstaben, die andeuten, womit sich die Mitglieder von Chumbawamba ihr Man findet vieles auf diesem Album – sowohl ernst Gemeintes (Chumbawamba lieben ganzes Erwachsenenleben lang beschäftigt haben: etwas leicht Schräges, Lustiges, Ex- es, die Musik als Medium zu verwenden, um über Geschichte, Politik und Philosophie zentrisches und Anspruchsvolles aus den Möglichkeitern einer sieben-sprossigen Ton- zu sprechen) als auch weniger ernst Gemeintes (Chumbawamba sind sicher ganz vorn leiter zu erschaffen. Oder, anders gesagt, aus Musik. mit dabei, wenn es darum geht, die Ernsthaftigkeit eben dieser Geschichte, Politik und Dies ist das siebzehnte Album der Band, ein Konzeptalbum („Konzept“ steht hier für Philosophie zu torpedieren). Die Stücke auf diesem Album werden auf einer ganzen „Idee“ - Schließlich sind Ideen der Grundstein des Erfolgs von Chumbawamba), ein Batterie von Instrumenten (von der Band selbst) gespielt und einige Songs werden durch Album voller Ideen - speziell zum Thema Musik – gute und schlechte Musik, gefeierte musikalische Beiträge der folgenden Künstler und belächelte Musik. -
I Chumbawamba the Life of a Dominatrix I Abandoned Hospitals Meet Britain's Home
VQ Summer 2010 Issue 01 £6.50 Car culture: attitude or way of life? I Chumbawamba The life of a Dominatrix I Abandoned Hospitals Meet Britain’s homegrown climate activists 1 2 EDITOR’S LETTER CONTENTS VQ Cover image: warm, hearty welcome to the premiere issue of VQ, Visual-journalism By Sharbendu De Quarterly. Our vision to bring in-depth coverage of today’s diverse issues to from the feature ‘Order of A independent and curious readers is finally coming to light, and I feel excited the Cllimate Marauders’. that our ideas and ideologies can now reach out to you. ENVIRONMENT You’ll be welcomed by a fresh story on free runners with ‘Setting the Pace’ by Jonathan Morris, our staff photographer in Swansea. And, in ‘Curbing your Enthusiasm’, Jonathan demystifies car culture from the shadow of boy racers. He spent months building a relationship with these young drivers to bring you a thoroughly researched photo 12 Abandoned: Decadence to Decay story. In ‘Abandoned’, Giulia Candussi roams the outskirts of London researching and photographing the majestic, and eerily picturesque hospitals destined for decay, she 56 Order of the Climate Marauders investigates the abject waste of these once beautiful buildings. Sharbendu De lives out of his sleeping bag and survives on skipped food to bring you the inside story of the survival, tribulations and ideologies of environmental activists in URBAN his feature ‘Order of the Climate Marauders’, while Charlotta Ljungberg treads the dark sexual alleys to find out about the life and psyche behind a dominatrix. Charlotta also brings you the latest coverage of Chumbawamba, the music group who gathered ac- claim with their 1990’s smash hit ‘Tubthumping’. -
Chumbawamba E O Caso Tubthumper – O Mainstream Como Estratégia
Chumbawamba e o caso Tubthumper – O mainstream como estratégia Guy Amado – Novembro de 2005 "It is to be strongly established that the myth is a communication system, is message. […] The myth can always, in the end, signify the resistance made to it." Roland Barthes "It's time to create the pop stars of activism, the idoru of communication guerrilla, it's time to threaten and charm the masses, to play the myth against the myth, to be more nihilist than infoteinment !" Etoy "Knock hard, life is deaf." Mimi Parent A reboque da insuficiência e do relativismo que caracterizam a circulação do termo cultura tal como se efetiva nestes tempos "pós-tudo", chama a atenção o nicho de estudos e estratégias de mobilização que circulam sob a denominação genérica de resistência cultural . Na medida em que a própria noção-base de cultura se apresenta de maneira cada vez mais vaga e diluída, sendo referida de maneira rasa e instrumentalizada e cooptada de modo oportunista na legitimação de ideologias e programas universalistas, a idéia de "resistir" apresentaria-se igualmente relativizada. É possível, contudo, divisar o que poderia ser descrito como um espectro heterogêneo de correntes do pensamento contemporâneo e mesmo de ações práticas que se contrapõem ou se interessam em analisar o cenário e adotar um posicionamento crítico frente a esse estado das coisas. De Noam Chomsky a Hakim Bey, passando por releituras de, entre tantos outros, Guy Debord e Nietzsche, toda uma gama de pensadores têm influenciado os que vêem na tecnologia e na internet – esta, -
University of Florida Thesis Or Dissertation Formatting
THE SPIRIT OF SPECTACLE: ANXIETIES OF AUTHENTICITY AND THE PUNKED RENAISSANCE FILM By JAMES NEWLIN A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2009 1 © 2009 James Newlin 2 TABLE OF CONTENTS page ABSTRACT .......................................................................................................................................... 4 CHAPTER 1 INTRODUCTION......................................................................................................................... 6 2 VIOLATING DUSTY OLD PLAYS: DEREK JARMAN’S VISION OF THE RENAISSANCE AND PUNK DISCOURSE ........................................................................... 26 3 FAIR HUSTLERS IN BLACK LEATHER: HUSTLER NARRATIVES, SHAKESPEARE AND ALTERNATIVE MUSIC IN VAN SANT’S MY OWN PRIVATE IDAHO ........................................................................................................................ 43 4 THE (NO) FUTURE OF THE PUNKED RENAISSANCE FILM: CONSIDERING AUTHENTICITY AND PROPHECY WITH NELSON’S O AND COX’S REVENGERS TRAGEDY............................................................................................................ 57 5 CONCLUSION ........................................................................................................................... 72 WORKS CITED ................................................................................................................................. 76 BIOGRAPHICAL -
A Retrospective Mike Rose
^ O C IA T '0 ^ llk > rn | e Fellrunning - A Retrospective Mike Rose - An Appreciation British Championship Results Super 70 s Lakes 24 Paddy Buckley Round Midsummer Madness Report IT’S A WARMER WINTER WITH PETE BLAND SPORTS!! ! Lowe Alpine Endurer 35 Lowe Alpine Adrenaline Jacket Was £50.00 Now £40.00 Was £80.00 Now £60.00 Lightweight pack for events, trail running Ultra-light, high performance jacket for high-activity and high-energy activities where weight mountain sports such as trail running and mountain biking and stability are essential. 35-litre and fell running. Fully waterproof with a 2-year capacity. manufacturers guarantee. Colours - Cobalt, Red, Colours - Venetian Red & Adriatic Blue Grey & Orange Sizes - Small, Medium, Large & Extra Large Ron Hill Active Jacket Was £50.00 Now £20.00 Lo w e A lp i ne Adrenaline Anorak Was £70.00 Now £50.00 • PU coated ripstop nylon shell with polyester Ultra-light, high-performance pull-on for high lining. activity mountain sports such as trail running • Front and back vents for increased ventilation. and mountain biking and fell running. Fully • Adjustable drawcord in collar for increased waterproof with a 2-year manufacturers protection. guarantee. • 360 degrees reflective trim provides high visibility. Colours - Venetian Red S’ Reflective trim on lower sleeves. Adriatic Blue • Back slanted zipped pocket for easy access. Sizes - Small, Medium, Large S’ • Two high positioned front zippered pockets. Extra Large » Adjustable cuffs with shaped cuff tabs. • Shockcord hem with cordlocks. Colours - Navy S’ Fluo Yellow EDZ Fleece Glove £3.00 Or Two For £5.00 Sizes - Small, Medium, Large & Extra Large 165gm microfibre fleece. -
4.5 DANCES with AGITATORS What Is ‘Anarchist Music’?
4.5 DANCES WITH AGITATORS What Is ‘Anarchist Music’? Jim Donaghey Introduction Robin Ballinger argues that ‘[m]usic is neither transcendental nor trivial, but inhibits a site where hegemonic processes are contested’ (in Sakolsky and Ho (eds.), 1995: 14) – in other words, music matters. However, music (and culture more widely) is often viewed as being of minor importance within social movements, as something coincidental rather than fun- damental. Consideration of anarchism and music contributes to an understanding of the complex relationships between culture and radical politics more widely, while challenging those narrow conceptions of radicalism that fail to take cultural aspects into account. This chapter points to the core role of culture (and music) in social movements, and the rec- ognition of this importance across a wide spectrum of anarchist perspectives. The chapter then considers evaluations of ‘anarchist music’, identifying the aspects which are too easily recuperated by the State and capital (such as aesthetics and lyrics), and highlighting those aspects which contain radical transformative potential (such as Do-It-Yourself or DIY produc- tion processes – though this is necessarily marginal in character and scope). A transforma- tion is not a fixed entity; it only operates in relation to an a priori situation. Evaluation of ‘anarchist music’ in terms of transformation is therefore alive to shifting contexts, and does not impose a particular set of criteria – yet, it still usefully problematises any claim of a particular music as being ‘anarchist’. However, no form of music (in terms of its aesthetic or production process) is entirely immune to co-optation, and it is argued here that music’s radical transformative potential is most fully realised, and most resilient, when engaged within a culture of resistance.