DOCSLIB.ORG

The Dilution of Avant-Garde Subcultural Boundaries in Network Society

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Dilution of Avant-Garde Subcultural Boundaries in Network Society The Dilution of Avant-Garde Subcultural Boundaries in Network Society A Dissertation Presented to The Academic Faculty by David Jimison In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in Digital Media Georgia Institute of Technology May 2015 Copyright © 2015 by David Jimison The Dilution of Avant-Garde Subcultural Boundaries in Network Society Approved by: Dr. Carl DiSalvo, Advisor Dr. Sarah Cook School of Literature, Media, and Culture College of Art and Design Georgia Institute of Technology University of Dundee Dr. Ian Bogost Dr. Eugene Thacker School of Literature, Media, and Culture School of Media Studies Georgia Institute of Technology The New School Dr. Janet Murray School of Literature, Media, and Culture Georgia Institute of Technology Date Approved: January 9, 2015 Acknowledgements As one who has spent my life as a practitioner, I found the transition to writing a dissertation to be a very difficult challenge, one that I surmounted only by the wonderful help and support of my mentors, colleagues, family and friends. First, I would like to thank each member of my committee for their enduring patience, and their passion for the subject matter. Dr. Carl DiSalvo, who encouraged my return to the doctoral program, and who provided much needed straight talk throughout my struggles to persist. Dr. Janet Murray, whose brilliance and passion inspires renewed vigor, and who served as a wonderful mentor to me throughout my decade at Georgia Tech. Dr. Eugene Thacker, who helped launch my research and introduced me to so many delightful philosophers. Dr. Ian Bogost, who managed to be both critical and encouraging, and thus pushed my work into better theoretical grounding. Dr. Sarah Cook, whose amazing knowledge of digital arts benefited my theoretical work, and who has helped me realize the connection between my dissertation and my own artistic practices. I am also grateful for the wonderful help I received in writing and editing this dissertation. Esther LeMair who worked jumped into tasks with a moments notice, and copy edited the entire dissertation. The Georgia Tech Communications Center provided enormous support to me, and I want to thank iii Karen Head who organized the support to meet weekly with me, even over the summer, Dustin Hannum, who helped tackle chapters 2 and 3 over the summer, and Becky Weaver who worked with me through the rest. Becky met tirelessly with me, listened to my various problems both with writing and in general, and was a phenomenal support throughout the process. It was such a pleasure to learn and appreciate writing with such skilled persons. Second, I want to acknowledge my collaborators and colleagues at Eyebeam, where I was an artist, and at Fever and F#, the digital agencies I helped start. In particular, I want to thank my past collaborators: David Boyhan, Jeff Crouse, Jena Gagliano, Jacob Milam, Eric Olson, Joo Youn Paek, Julie Robinson, Stephen Shearer, and Travis Thatcher. Without the communities and spaces of collaboration, I believe (and argue in the following pages) that our creativity stagnates. Finally, I want to thank my friends and family. My parents, John and Mitzi, were incredibly enthusiastic and supportive. My wife, Melissa, who took care of me in between writing sessions, when I was practically catatonic, and who traveled around the Americas trusting that I would one day finish my PhD. And finally, my brothers, Steven, Peter, and Andrew, whose presence has kept me grounded. iv Table of Contents ACKNOWLEDGEMENTS ...................................................................................... III LIST OF TABLES .................................................................................................... IX LIST OF FIGURES ................................................................................................... X SUMMARY ............................................................................................................ XII I. INTRODUCTION: THE DILUTION OF AVANT-GARDE SUBCULTURES ....... 1 II. THE HISTORY OF THE AVANT-GARDE AND SUBCULTURES .................... 13 Subcultures are a Cultural Phenomenon ............................................................ 25 The Five Traits of the Avant-Garde .................................................................... 51 First Trait - Against Primacy ........................................................................... 52 Second Trait - Provocation of the Public ....................................................... 62 Third Trait - Alienation & Elitism .................................................................. 69 Fourth Trait - Death, or Recuperation by the Mainstream ............................ 74 Fifth Trait - Scenes of the Avant-Garde .......................................................... 81 III. THE PRODUCTION OF SPACE AND NETWORK SOCIETY ........................ 99 Space, the Everyday, and Social Power Structures ........................................... 99 Spaces of Representation .................................................................................. 108 Network Society ................................................................................................ 114 Realized Abstractions .................................................................................... 120 Access ............................................................................................................. 122 v Absent Presence ............................................................................................. 125 Homogenization of Space .............................................................................. 128 IV. THE BOUNDARIES OF AVANT-GARDE SUBCULTURES .......................... 136 The Capital of Avant-Garde Subculture ........................................................... 139 The Boundaries of Avant-Garde Subcultures ................................................... 152 Slang .............................................................................................................. 155 Fashion .......................................................................................................... 159 Accumulation ................................................................................................. 163 Esoteric Knowledge ....................................................................................... 168 Physical Spaces .............................................................................................. 170 The Evolutions of Avant-Garde Subculture ..................................................... 187 The Recuperations of Avant-Garde Subculture ............................................... 194 V. FLUIDITY, RETROMANIA AND INTERNET SUBCULTURES .................... 206 Riding the Wave ................................................................................................ 211 Fluidity & Retromania ...................................................................................... 218 What of Hipsters? ............................................................................................ 226 Slang // Hashtags ........................................................................................... 233 Realized Abstraction ..................................................................................... 236 Access ............................................................................................................. 237 Absent Presence ............................................................................................ 238 Homogenization of Culture .......................................................................... 238 Summary ....................................................................................................... 239 Fashion // Health Goth ................................................................................... 240 vi Realized Abstraction ..................................................................................... 244 Access ............................................................................................................ 244 Absent Presence ............................................................................................ 245 Homogenization of Culture .......................................................................... 245 Summary ....................................................................................................... 246 Accumulation // BandCamp ............................................................................. 247 Realized Abstraction ..................................................................................... 249 Access ............................................................................................................ 250 Absent Presence ............................................................................................. 251 Homogenization of Culture ........................................................................... 251 Summary ....................................................................................................... 252 Esoteric Knowledge // VICE INC ..................................................................... 253 Realized Abstraction ..................................................................................... 256 Access ............................................................................................................. 257 Absent Presence ............................................................................................
Load more

Recommended publications
  • Sheets to Lull To
    Sheets to Lull To - Pratyaksh Gautam Lo-Fi? So, What’s Different? usic spawns countless genres, with new ones Most genres of music aim to grab your attention and Mpopping up by the dozens every few years. move you, or to make you move. Lo-fi established Among the genres to come to prominence in the last itself as a genre whose aim is to not draw too much few years, lo-fi stands out as one of the more “un- attention, as demonstrated by the title of the largest interesting” ones. It isn’t bizarre, avant-garde, nor is lo-fi live stream on the internet, ChilledCow’s 24x7 it dominating the top 40. It doesn’t have any artists “lo-fi hip hop radio - beats to relax/study to”. They’re who constantly make headlines for their fashion or repetitive, relaxed and laid-back beats, with rarely relationships. any comprehensible lyrics, to be played without It begs the much more “interesting” question, why needing to pay attention, as filler, think Phillip Glass is such a seemingly niche genre enjoying growing meets J Dilla. popularity? Simply put, lo-fi hip hop is this generation’s elevator Lo-fi, short for ‘low fidelity’ is a genre of music music, well suited for late-night study sesh’s, or drawing largely on hip-hop, with elements of other questionable activities best appreciated with sampling, classic old school drum machine sounds, a calm ambience. lo-fi has existed in some way or unquantised drums, slightly detuned synths, form for a long time, but has recently attracted a repetition, and repetition.
    [Show full text]
  • 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.
    [Show full text]
  • Theory, Experience and Affect in Contemporary Electronic Music Trans
    Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Strachan, Robert Uncanny Space: Theory, Experience and Affect in Contemporary Electronic Music Trans. Revista Transcultural de Música, núm. 14, 2010, pp. 1-10 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82220947010 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative TRANS - Revista Transcultural de Música - Transcultural Music Revie... http://www.sibetrans.com/trans/a14/uncanny-space-theory-experience-... Home PRESENTACIÓN EQUIPO EDITORIAL INFORMACIÓN PARA LOS AUTORES CÓMO CITAR TRANS INDEXACIÓN CONTACTO Última publicación Números publicados < Volver TRANS 14 (2010) Convocatoria para artículos: Uncanny Space: Theory, Experience and Affect in Contemporary Electronic Music Explorar TRANS: Por Número > Robert Strachan Por Artículo > Por Autor > Abstract This article draws upon the author’s experiences of promoting an music event featuring three prominent European electronic musicians (Alva Noto, Vladislav Delay and Donnacha Costello) to examine the tensions between the theorisation of electronic music and the way it is experienced. Combining empirical analysis of the event itself and frequency analysis of the music used within it, the article works towards a theoretical framework that seeks to account for the social and physical contexts of listening. It suggests that affect engendered by the physical intersection of sound with the body provides a key way of understanding Share | experience, creativity and culture within contemporary electronic music.
    [Show full text]
  • From the Culture Industry to the Society of the Spectacle: Critical Theory and the Situationist International
    FROM THE CULTURE INDUSTRY TO THE SOCIETY OF THE SPECTACLE: CRITICAL THEORY AND THE SITUATIONIST INTERNATIONAL Kevin Fox Gotham and Daniel A. Krier ABSTRACT Since Karl Marx fashioned his theory of capitalism in the nineteenth century, scholars have continually updated Marxian theory to capture the pervasiveness of commodity relations in modern society. Influenced by Georg Luka´cs and Henri Lefebvre, the members of the French avant- guard group, the Situationist International (1957–1972), developed an intransigent critique of consumer capitalism based on the concept of the spectacle. In the spectacle, media and consumer society replace lived experience, the passive gaze of images supplants active social participa- tion, and new forms of alienation induce social atomization at a more abstract level than in previous societies. We endeavor to make two theoretical contributions: First, we highlight the contributions of the Situationist International, pointing out how they revised the Marxian categories of alienation, commodification, and reification in order to analyze the dynamics of twentieth century capitalism and to give these No Social Science Without Critical Theory Current Perspectives in Social Theory, Volume 25, 155–192 Copyright r 2008 by Emerald Group Publishing Limited All rights of reproduction in any form reserved ISSN: 0278-1204/doi:10.1016/S0278-1204(08)00005-4 155 156 KEVIN FOX GOTHAM AND DANIEL A. KRIER concepts new explanatory power. Second, we build a critical theory of consumer capitalism that incorporates the theoretical assumptions and arguments of the Situationists and the Frankfurt School. Today, critical theory can make an important contribution to sociology by critically examining the plurality of spectacles and their reifying manifestations.
    [Show full text]
  • Henri Lefebvre and the Production of Music Streaming Spaces (Doi: 10.2383/82481)
    Il Mulino - Rivisteweb Robert Prey Henri Lefebvre and the Production of Music Streaming Spaces (doi: 10.2383/82481) Sociologica (ISSN 1971-8853) Fascicolo 3, settembre-dicembre 2015 Ente di afferenza: () Copyright c by Societ`aeditrice il Mulino, Bologna. Tutti i diritti sono riservati. Per altre informazioni si veda https://www.rivisteweb.it Licenza d’uso L’articolo `emesso a disposizione dell’utente in licenza per uso esclusivamente privato e personale, senza scopo di lucro e senza fini direttamente o indirettamente commerciali. Salvo quanto espressamente previsto dalla licenza d’uso Rivisteweb, `efatto divieto di riprodurre, trasmettere, distribuire o altrimenti utilizzare l’articolo, per qualsiasi scopo o fine. Tutti i diritti sono riservati. Symposium / Other Senses of Place: Socio-Spatial Practices in the Contemporary Media Environment, edited by Federica Timeto Henri Lefebvre and the Production of Music Streaming Spaces by Robert Prey doi: 10.2383/82481 Human reasoning is innately spatial. [W]e are embodied, situated beings, who comprehend even disembodied commu- nications through the filter of embodied, situated experience [Cohen 2007, 213]. This appears to be why we constantly invoke place- and space-based metaphors to describe our online experiences. We visit a website; we join a virtual community in cyberspace, etc. However, to take the spatiality of “cyberspace” for granted is to forfeit any critical questioning of precisely how and why this network of networks has been spatialized. As Christian Schmid puts it, space ‘in itself’ can never serve as an epistemological starting position. Space does not exist ‘in itself’; it is produced [2008, 28]. This is where turning to the late French philosopher Henri Lefebvre becomes particularly useful.
    [Show full text]
  • Introduction to Computer Music Week 1
    Introduction to Computer Music Week 1 Instructor: Prof. Roger B. Dannenberg Topics Discussed: Sound, Nyquist, SAL, Lisp and Control Constructs 1 Introduction Computers in all forms – desktops, laptops, mobile phones – are used to store and play music. Perhaps less obvious is the fact that music is now recorded and edited almost exclusively with computers, and computers are also used to generate sounds either by manipulating short audio clips called samples or by direct computation. In the late 1950s, engineers began to turn the theory of sampling into practice, turning sound into bits and bytes and then back into sound. These analog-to-digital converters, capable of turning one second’s worth of sound into thousands of numbers made it possible to transform the acoustic waves that we hear as sound into long sequences of numbers, which were then stored in computer memories. The numbers could then be turned back into the original sound. The ability to simply record a sound had been known for quite some time. The major advance of digital representations of sound was that now sound could be manipulated very easily, just as a chunk of data. Advantages of employing computer music and digital audio are: 1. There are no limits to the range of sounds that a computer can help explore. In principle, any sound can be represented digitally, and therefore any sound can be created. 2. Computers bring precision. The process to compute or change a sound can be repeated exactly, and small incremental changes can be specified in detail. Computers facilitate microscopic changes in sounds enabling us to producing desirable sounds.
    [Show full text]
  • The Educative Experience of Punk Learners
    University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 6-1-2014 "Punk Has Always Been My School": The Educative Experience of Punk Learners Rebekah A. Cordova University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Curriculum and Instruction Commons Recommended Citation Cordova, Rebekah A., ""Punk Has Always Been My School": The Educative Experience of Punk Learners" (2014). Electronic Theses and Dissertations. 142. https://digitalcommons.du.edu/etd/142 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. “Punk Has Always Been My School”: The Educative Experience of Punk Learners __________ A Dissertation Presented to the Faculty of the Morgridge College of Education University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ by Rebekah A. Cordova June 2014 Advisor: Dr. Bruce Uhrmacher i ©Copyright by Rebekah A. Cordova 2014 All Rights Reserved ii Author: Rebekah A. Cordova Title: “Punk has always been my school”: The educative experience of punk learners Advisor: Dr. Bruce Uhrmacher Degree Date: June 2014 ABSTRACT Punk music, ideology, and community have been a piece of United States culture since the early-1970s. Although varied scholarship on Punk exists in a variety of disciplines, the educative aspect of Punk engagement, specifically the Do-It-Yourself (DIY) ethos, has yet to be fully explored by the Education discipline.
    [Show full text]
  • The Cultural Learning Process : Diffusion Versus Evolution
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1979 The cultural learning process : diffusion versus evolution. Paul Shao University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Shao, Paul, "The cultural learning process : diffusion versus evolution." (1979). Doctoral Dissertations 1896 - February 2014. 3539. https://scholarworks.umass.edu/dissertations_1/3539 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE CULTURAL LEARNING PROCESS; DIFFUSION VERSUS EVOLUTION A Dissertation Presented By PAUL PONG WAH SHAO Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION February 1979 Education Paul Shao 1978 © All Rights Reserved THE CULTURAL LEARNING PROCESS: DIFFUSION VERSUS EVOLUTION A Dissertation Presented By PAUL PONG WAH SHAO Approved as to style and content by: ABSTRACT The Cultural Learning Process: Diffusion Versus Evolution February, 1979 Paul Shao, B.A., China Art College M.F.A., University of Massachusetts Ed. D., University of Massachusetts Directed By: Professor Daniel C. Jordan Purpose of the Study This study attempts to shed
    [Show full text]
  • Tourism and Cultural Identity: the Case of the Polynesian Cultural Center
    Athens Journal of Tourism - Volume 1, Issue 2 – Pages 101-120 Tourism and Cultural Identity: The Case of the Polynesian Cultural Center By Jeffery M. Caneen Since Boorstein (1964) the relationship between tourism and culture has been discussed primarily in terms of authenticity. This paper reviews the debate and contrasts it with the anthropological focus on cultural invention and identity. A model is presented to illustrate the relationship between the image of authenticity perceived by tourists and the cultural identity felt by indigenous hosts. A case study of the Polynesian Cultural Center in Laie, Hawaii, USA exemplifies the model’s application. This paper concludes that authenticity is too vague and contentious a concept to usefully guide indigenous people, tourism planners and practitioners in their efforts to protect culture while seeking to gain the economic benefits of tourism. It recommends, rather that preservation and enhancement of identity should be their focus. Keywords: culture, authenticity, identity, Pacific, tourism Introduction The aim of this paper is to propose a new conceptual framework for both understanding and managing the impact of tourism on indigenous host culture. In seminal works on tourism and culture the relationship between the two has been discussed primarily in terms of authenticity. But as Prideaux, et. al. have noted: “authenticity is an elusive concept that lacks a set of central identifying criteria, lacks a standard definition, varies in meaning from place to place, and has varying levels of acceptance by groups within society” (2008, p. 6). While debating the metaphysics of authenticity may have merit, it does little to guide indigenous people, tourism planners and practitioners in their efforts to protect culture while seeking to gain the economic benefits of tourism.
    [Show full text]
  • Postinternet, Its Art and (The) New Aesthetic
    POSTINTERNET, ITS ART AND (THE) NEW AESTHETIC — A Conceptual Framework for Art Education POSTINTERNET, ITS ART AND (THE) NEW AESTHETIC — A Conceptual Framework for Art Education Elina Nissinen Master of Arts thesis, 30 ECTS Supervisor Kevin Tavin Master’s Program in Art Education Department of Art Aalto University School of Arts, Design and Architecture 2018 Author Elina Nissinen Työn nimi Postinternet, Its Art and (The) New Aesthetic – A Conceptual Framework for Art Education Department Department of Art Degree programme Master’s program in Art Education Year 2018 Number of pages 83 Language English Abstract As one might expect from terms employing the prefixes ‘post’ or ‘new,’ combined with the words ‘internet,’ ‘art,’ and ‘aesthetic,’ postinternet, postinternet art (PIA), and New Aesthetic ((the) NA) are broad and disputable concepts. I started this study because I noticed that these ambiguous, yet widely- discussed terms were hardly acknowledged in art education. This thesis provides a conceptual framework for postinternet, PIA, and (the) (the) NA through a critical review of the literature. Postinternet and (the) NA are notions and phenomena that signpost an era and a condition of unprecedented pace of computation-driven transformations in the human culture. They continue the list of theoretical neologisms indicating the changes brought about by the post-conditions. This thesis establishes that postinternet, PIA, and (the) NA are characterized through their paradoxical relation to time and temporality at conceptual and thematical levels. Obsessed with novelty, these terms attempt to break off from their “previous,” while, starting from their titles, simultaneously anchoring themselves to the past. Postinternet is a notion that describes the inescapable consequences of the intermixing of the online and offline, the omnipresence of the internet.
    [Show full text]
  • Narcocorridos As a Symptomatic Lens for Modern Mexico
    UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Vol. 1, No. 2 “Grave-Digging Crate Diggers: Retro “The Narcocorrido as an Ethnographic Fetishism and Fan Engagement with and Anthropological Lens to the War Horror Scores” on Drugs in Mexico” Spencer Slayton Samantha Cabral “Callowness of Youth: Finding Film’s “This Is Our Story: The Fight for Queer Extremity in Thomas Adès’s The Acceptance in Shrek the Musical” Exterminating Angel” Clarina Dimayuga Lori McMahan “Cats: Culturally Significant Cinema” Liv Slaby Spring 2020 Editor-in-Chief J.W. Clark Managing Editor Liv Slaby Review Editor Gabriel Deibel Technical Editors Torrey Bubien Alana Chester Matthew Gilbert Karen Thantrakul Graphic Designer Alexa Baruch Faculty Advisor Dr. Elisabeth Le Guin 1 UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Volume 1, Number 2 Spring 2020 Contents Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement 2 with Horror Scores Spencer Slayton Callowness of Youth: Finding Film’s Extremity in Thomas Adès’s 10 The Exterminating Angel Lori McMahan The Narcocorrido as an Ethnographic and Anthropological Lens to 18 the War on Drugs in Mexico Samantha Cabral This Is Our Story: The Fight for Queer Acceptance in Shrek the 28 Musical Clarina Dimayuga Cats: Culturally Significant Cinema 38 Liv Slaby Contributors 50 Closing notes 51 2 Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement with Horror Scores Spencer Slayton he horror genre is in the midst of a renaissance. The slasher craze of the late 70s and early 80s, revitalized in the mid-90s, is once again a popular genre for Treinterpretation by today’s filmmakers and film composers.
    [Show full text]
  • Sonntags Im Bistro Grottino, Sommer 2015 (16.59H Bis Ca
    Sonntags im Bistro Grottino, Sommer 2015 (16.59h bis ca. 19.08h) Set vom 7.6. Real Estate: Past Lives Department of Eagles: No One Does It Like You Unknown Mortal Orchestra: So Good… Ruby Suns: Oh Mojave The Congos: Fisherman The Upsetters: Big Gal Sally Beastie Boys: Song for the Man Captain Beefheart: Abba Zaba Destroyer: Del Monton Magnetic Fields: The Luckiest Guy… Beck: Black Tambourine Can: Halleluhwah Dorothy Collins: Lightworks (Raymond Scott) Erykah Badu: Soldier Digable Planets: Black Ego Calexico: Not Even Stevie Nicks Avey Tare's Slasher Flicks: Little Fang Panda Bear: Boys Latin Deerhoof: Super Duper Rescue Head Daniel Johnston: The Sun Shines Down Gil Scott Heron: Home Is Where the Hatred Is Timmy Thomas: Why Can't We Live Together The Four Tops: Baby I Need Your Loving Matthew E. White: Golden Robes William Onyeabor: Atomic Bomb Connan Mockasin: Megumi the Milkyway Above Django Django: Found You Atlas Sound: Walkabout Islands: Jogging Gorgeous Summer Tame Impala: Let it Happen The Notwist: Gloomy Planets Dan Deacon: Feel the Lightning Tocotronic: Spiralen Destroyer: Kaputt Set vom 14.6. Simone White: Flowers in May Beach House: Walk in the Park Peaking Lights: All the Sun That Shines The Slits: Man Next Door Jaako Eino Kalevi: Deeper Shadows Sisyphus: Lion's Share The Soundcarriers: So Beguiled Toro y Moi: Empty Nesters Kyu Sakamoto: Sukiyaki Homeboy Sandman: Holiday (Kosi Edit) Real Estate: Crime Devendra Banhart: Won't You Come Over Yo La Tengo: Automatic Doom Caribou: Melody Day Chris Cohen: Don't Look Today Unknown Mortal Orchestra: Can't Keep Checking My Phone John Cale: Hanky Panky Nohow Mac DeMarco: Let Her Go Girls: Oh So Protective One Stereolab: Fuses Beck: Tropicalia Cloud One: Atmosphere Strut Remix 1979 Cliff King Solomon: But Officer! Ariel Pink: Baby Frank Ocean: Forrest Gump Animal Collective: Rosie Oh Alexis Taylor: Am I Not A Soldier? Freddie Gibbs & Madlib: Shame (Instrumental) Arthur Russell: That's Us / Wild Combination The Streets: Never Went to Church Jacques Palminger: Wann strahlst Du? Dick Justice: Henry Lee Set vom 21.6.
    [Show full text]