DOCSLIB.ORG

Adventures in Modern Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Adventures in Modern Music 54 CHICAGO READER | AUGUST 26, 2005 | SECTION THREE thursdaThe Treatment y 22 continued from page 52 Jazz Blue Water Grill 520 N. Dearborn: Fri 9/16, 7 PM, Shawn Salmon Trio with Michelle Thomas. 312-777-1400. Festivals Numbers Cafe Mestizo 2123 S. Ashland: NUMBERS San Francisco’s Numbers have spent half a Sundays, 6-9 PM, jam session with Nicole decade specializing in post-no-wave dementia, releasing Mitchell, David Boykin, Karl E.H. albums that are all high-velocity herky-jerky beats, chicken- Seigfried, and Mike Reed. scratch guitar, and sputtering, out-of-whack synths. I can’t Adventures in 312-942-0095. blame them for wanting to change their sound, but on their new record, We’re Animals (Kill Rock Stars), they seem to Cafe Mud 1936 Maple, Evanston: think maturity requires acting like a bunch of geezers. They’ve Thursdays, 8 PM, Orb. 847-733-9904. cut their hyperactive tempos in half, and while there are still Modern Music some noisy keyboard wheezes and slashing guitars, their inept Chicago Hot Glass 1250 N. Central Park: attempts at writing actual melodies reveal Indra Dunis’s Mon 9/19, 8 PM, D. Bayne Septet. 773-394- inability to carry a tune. You know things are bad when your 3252. Copresented by British music magazine the Wire , this festival features five nights of best songs sound like bad Slits covers. This show is part of music at the Empty Bottle, 1035 N. Western, and three film screenings at the Gene Estrojam; see page 22 for a complete schedule. King Cobra Coq d’Or Drake Hotel, 140 E. Walton F : Siskel Film Center, 164 N. State. The Bottle shows are $15, and a pass good for all five and Limited Express (Has Gone?) open. a 10 PM, Bottom Piano bar and restaurant. Fridays, 7 PM, costs $60; for more information call 773-276-3600 or 800-594-8499. Lounge, 3206 N. Wilton, 773-975-0505 or 866-468-3401, $10, 18+. —Peter Margasak Marc Pompe. 312-932-4623. Inferno (see the Treatment), Eats Tapes, SUNDAY18 Akron/Family, Harris Eisenstadt’s the AMY RAY, THE ORGAN If you say some- Cosmicafe 1944 W. Montrose: Thu 9/22, 8 Soul and Gone (see the Treatment) c body’s new album is way more gay than the last one, PM, Tom McCarthy Trio F . 773-728-2233. Gene Siskel Film Center it’s hardly ever a compliment. But Indigo Girl AMY RAY has 5:00 “Tony Conrad Filmworks” curated FRIDAY23 dedicated her second solo disc, Prom (Daemon), entirely to Davenport’s Piano Bar & Cabaret by Andrew Lampert & Jim O’Rourke 1383 N. Milwaukee: Wed 9/21, 8 PM, questions of queer identity—and this record isn’t just gay, it’s (see Movies) Empty Bottle fiercely, fantastically gay. It’s about the drama and tumult of Barbara Johnson, Willie Pickens. 773-278- 1830. 9:00 Isolee, Henry Grimes, William high school and coming out, and its narratives are set in rural Basinski, Daniel Higgs and suburban Georgia, deep in the Bible Belt, at about the WEDNESDAY21 time Ray first fell in love with another woman. Over punked- Dee’s Mandarin Restaurant 1114 W. up bar-band riffs and sweet-toned, melodic fuzz blasts that Armitage: Fridays and Wednesdays, 7 PM, Empty Bottle SATURDAY24 recall the Breeders, she sings in fearless first person about her Birdhouse Quartet. 773-477-1500. 9:00 Red Krayola; Mandarin Movie c ; life and her friends’ lives, sometimes speaking as a teenager Diverse; Hisham Bharoocha, Tyondai Empty Bottle and sometimes as her 41-year-old self, looking back with all Family Den 8948 S. Stony Island: Sundays, Braxton & Robert Lowe 9:00 Earth, Gang Gang Dance, Pita, the compassion and love she’s learned. “Rural Faggot” is a 6-10 PM, Crosswind hosts a jam session Ghislain Poirier warmhearted anthem for some of her young neighbors in F . 773-734-8545. THURSDAY22 Georgia, who use homophobia to mask their confusion: “By this time next year / You’ll know you’re queer / It’ll all be OK 50 Yard Line 69 E. 75th: Music at SUNDAY25 / It’ll all be clear / You’ll run away from home / But not to be 6 PM. Sundays, 8 PM, open jam session Gene Siskel Film Center alone.” On her previous solo outing, Stag, Ray got help from with Corey Wilkes, Robert “Baabe” 8:00 “Tony Conrad Filmworks” curated Gene Siskel Film Center the Butchies, but for Prom she’s backed by both the Irving III, Charles “Rick” Heath, Josh by Andrew Lampert & Jim O’Rourke 5:00 NorNoise (see Movies) (see Movies) Birmingham garage band Nineteen Forty-Five and a cast of Ramo. Thu 9/22, Dwayne Armstrong. Empty Bottle dyke-punk icons, including guitarist Donna Dresch and 773-846-0005. Empty Bottle 9:00 Four Tet, Khanate, Hot Chip, bassist Jody Bleyle (from Team Dresch) and drummer Kate 9:00 Acid Mothers Temple & the Cosmic Phill Niblock Schellenbach (from Luscious Jackson). For this show Ray will FitzGerald’s 6615 Roosevelt, be backed by Bleyle, drummer Will Lochamy of Nineteen Berwyn: Sun 9/18, 6 PM, John Burnett Forty-Five, and Les Nuby of Verbena on guitar. Orchestra. Wed 9/21, 8 PM, Rob Parton’s Lots of people seem to have decided that THE Jazz Tech Big Band. 708-788-2118 or Carlos Latalladi spin mambo, salsa, cha- F : Mondays, 8:30 PM, Daniel Huber & ORGAN is all about the 80s: this dude-free quintet from cha, bachata, and merengue. Ivan Martirena with Joel Styzens. 312-559-1212. Vancouver has attracted an unceasing stream of Smiths and Wednesdays, 9 PM, Bill Porter Orchestra 773-525-7313. New Order comparisons since releasing its debut full-length, (preceded by dance lessons with Manny Gale Street Inn 4914 N. Milwaukee: Grab That Gun (Mint), late last year. (The band’s current Lopez at 8:15 PM). 773-395-0066. Gunz Bavarian Haus 4128 N. Lincoln: Fridays, 7 PM, Tom Muellner Trio. release is a seven-inch on Go Metric with one new song, “Let Tuesdays, 9:30 PM, Ten Cats F . the Bells Ring.”) Ashley Webber’s nimble bass lines do sound a 773-725-1300. Green Mill 4802 N. Broadway: Fri 9/16, 773-472-4287. little like Peter Hook’s, and guitarist Deborah Cohen is big 9 PM, and Sat 9/17, 8 PM, Ernest into the popular death-disco combo of delay pedal and mini- Gallery Cabaret 2020 N. Oakley: Music at Dawkins’s Live the Spirit Band. Fridays, Hotti Biscotti 3545 W. Fullerton: Sat 9/17, malist skronking—but unlike more fashionable revivalists 10 PM on weekends, 9 PM on weeknights. 1:30-4 AM, Green Mill Quartet F . 10 PM, Eric Leonardson, Bob Perkins F . (Radio 4, Interpol, the Killers), the Organ doesn’t just jumble Mon 9/19, Brian O’Hern & the Model Saturdays, midnight-5 AM, Sabertooth Tuesdays, 8 PM, Jim Baker/Steve Hunt/Brian cynically deployed signifiers (skinny ties, art-school polemics, Citizens Big Band. 773-489-5471. Organ Quartet. Sun 9/18, 11 PM, Sean Sandstrom/Mars Williams F . Tue 9/20, 11 pre-Prozac journal entries, guys in eyeliner). These ladies Harris Trio. Mon 9/19, 9 PM, Patricia PM, Dave Rempis. 773-772-9970. actually have solid songs and a mature, democratic sound, Germania Place 108 W. Germania Place: Barber Quartet. Tue 9/20, 9 PM, Deep with no one element carrying the show—and no one nostalgic Thu 9/22, 7 PM, Nestor Torres & Shunzo Blue Organ Trio. Wednesdays, 9 PM, Jazz Showcase 59 W. Grand: Music at 9 reference can sum up what they do. Ohno. 312.573.1968. Kurt Elling Quartet. Wed 9/21, 2 AM, and 11 PM Fridays and Saturdays; 4, 8, and Ray headlines, the Reputation plays fourth, and the Frank Catalano Quartet. Thursdays, 9 10 PM Sundays; 8 and 10 PM Tuesdays Organ plays third; the Reptoids and 8 Inch Betsy open. This Green Dolphin Street 2200 N. Ashland: PM, Alan Gresik’s Swing Shift Orchestra. through Thursdays. Fri 9/16 through Sun show is part of Estrojam; for a complete schedule see page 22. Sun 9/18, 8 PM, Chris Greene Quartet F . 773-878-5552. 9/18, Nicholas Payton Quartet. Tue 9/20 a 6 PM, Bottom Lounge, 3206 N. Wilton, 773-975-0505 or Tuesdays, 6 PM, Jose Valdes Trio F ; 9 through Thu 9/22, Junior Mance Trio. 312- 866-468-3401, $14, 18+. —Jessica Hopper PM, Edgar Marroquin, Luis Rivera, and Griffin’s Public House 2710 N. Halsted 670-2473. CHICAGO READER | SEPTEMBER 16, 2005 | SECTION THREE 55.
Load more

Recommended publications
  • Dissertation
    DISSERTATION Titel der Dissertation “We’re Punk as Fuck and Fuck like Punks:”* Queer-Feminist Counter-Cultures, Punk Music and the Anti-Social Turn in Queer Theory Verfasserin Mag.a Phil. Maria Katharina Wiedlack angestrebter akademischer Grad Doktorin der Philosophie (Dr. Phil.) Wien, Jänner 2013 Studienkennzahl lt. Studienblatt: A 092 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin / Betreuer: Univ. Prof.in Dr.in Astrid Fellner Earlier versions and parts of chapters One, Two, Three and Six have been published in the peer-reviewed online journal Transposition: the journal 3 (Musique et théorie queer) (2013), as well as in the anthologies Queering Paradigms III ed. by Liz Morrish and Kathleen O’Mara (2013); and Queering Paradigms II ed. by Mathew Ball and Burkard Scherer (2012); * The title “We’re punk as fuck and fuck like punks” is a line from the song Burn your Rainbow by the Canadian queer-feminist punk band the Skinjobs on their 2003 album with the same name (released by Agitprop Records). Content 1. Introduction .......................................................................................................... 1 2. “To Sir With Hate:” A Liminal History of Queer-Feminist Punk Rock ….………………………..…… 21 3. “We’re punk as fuck and fuck like punks:” Punk Rock, Queerness, and the Death Drive ………………………….………….. 69 4. “Challenge the System and Challenge Yourself:” Queer-Feminist Punk Rock’s Intersectional Politics and Anarchism……...……… 119 5. “There’s a Dyke in the Pit:” The Feminist Politics of Queer-Feminist Punk Rock……………..…………….. 157 6. “A Race Riot Did Happen!:” Queer Punks of Color Raising Their Voices ..……………..………… ………….. 207 7. “WE R LA FUCKEN RAZA SO DON’T EVEN FUCKEN DARE:” Anger, and the Politics of Jouissance ……….………………………….………….
    [Show full text]
  • Download PDF > Riot Grrrl \\ 3Y8OTSVISUJF
    LWSRQOQGSW3L / Book ~ Riot grrrl Riot grrrl Filesize: 8.18 MB Reviews Unquestionably, this is actually the very best work by any article writer. It usually does not price a lot of. Once you begin to read the book, it is extremely difficult to leave it before concluding. (Augustine Pfannerstill) DISCLAIMER | DMCA GOKP10TMWQNH / Kindle ~ Riot grrrl RIOT GRRRL To download Riot grrrl PDF, make sure you refer to the button under and download the document or gain access to other information which might be related to RIOT GRRRL book. Reference Series Books LLC Jan 2012, 2012. Taschenbuch. Book Condition: Neu. 249x189x10 mm. Neuware - Source: Wikipedia. Pages: 54. Chapters: Kill Rock Stars, Sleater-Kinney, Tobi Vail, Kathleen Hanna, Lucid Nation, Jessicka, Carrie Brownstein, Kids Love Lies, G. B. Jones, Sharon Cheslow, The Shondes, Jack O Jill, Not Bad for a Girl, Phranc, Bratmobile, Fih Column, Caroline Azar, Bikini Kill, Times Square, Jen Smith, Nomy Lamm, Huggy Bear, Karen Finley, Bidisha, Kaia Wilson, Emily's Sassy Lime, Mambo Taxi, The Yo-Yo Gang, Ladyfest, Bangs, Shopliing, Mecca Normal, Voodoo Queens, Sister George, Heavens to Betsy, Donna Dresch, Allison Wolfe, Billy Karren, Kathi Wilcox, Tattle Tale, Sta-Prest, All Women Are Bitches, Excuse 17, Pink Champagne, Rise Above: The Tribe 8 Documentary, Juliana Luecking, Lungleg, Rizzo, Tammy Rae Carland, The Frumpies, Lisa Rose Apramian, List of Riot Grrl bands, 36-C, Girl Germs, Cold Cold Hearts, Frightwig, Yer So Sweet, Direction, Viva Knievel. Excerpt: Riot grrrl was an underground feminist punk movement based in Washington, DC, Olympia, Washington, Portland, Oregon, and the greater Pacific Northwest which existed in the early to mid-1990s, and it is oen associated with third-wave feminism (it is sometimes seen as its starting point).
    [Show full text]
  • Elenco Dei Titoli Disponibili
    Risorse audiovisive della Biblioteca del Polo di Mediazione Interculturale e Comunicazione disponibili in streaming fino al 30 giugno 2020. Per accedere al servizio scrivere a [email protected]. Elenco dei titoli disponibili CINENOVA...................................................................................................................2 SCUOLA SENZA FINE / ADRIANA MONTI / 35' / 1983 / ITALIAN w. ENGLISH SUBTITLES............................2 ROOTLESS COSMOPOLITANS / RUTH NOVACZEK / 15' / 1991 / ENGLISH.............................................2 SHINJUKU BOYS / KIM LONGINOTTO AND JANO WILLIAMS / 54' / 1995 / JAPANESE w. ENGLISH SUBTITLES...3 THE GOOD WIFE OF TOKIO / KIM LONGINOTTO AND CLAIRE HUNT / 52' / 1992 / ENGLISH AND JAPANESE w. ENGLISH SUBTITLES...........................................................................................................3 HIDDEN FACES / KIM LONGINOTTO AND CLAIRE HUNT / 52' / 1990 / ENGLISH AND ARAB w. ENGLISH SUBTITLES......................................................................................................................4 EAT THE KIMONO / KIM LONGINOTTO AND CLAIRE HUNT / 62' / 1989 / JAPANESE w. ENGLISH SUBTITLES....4 MADE IN CHINA / LISA HSIA / 29' / 1985 / ENGLISH AND CHINESE....................................................5 BORN IN FLAMES / LIZZIE BORDEN / 76' / 1983 / ENGLISH.............................................................5 DREAM GIRLS / KIM LONGINOTTO AND JANO WILLIAMS / 50' / 1995 / JAPANESE AND ENGLISH w. ENGLISH SUBTITLES......................................................................................................................6
    [Show full text]
  • Indigo Girls the Indigo Girls Amy Ray (Left) and Emily Saliers Performing at by Carla Williams Park West, Chicago, in 2005
    Indigo Girls The Indigo Girls Amy Ray (left) and Emily Saliers performing at by Carla Williams Park West, Chicago, in 2005. Encyclopedia Copyright © 2015, glbtq, Inc. Image appears under the Creative Commons Entry Copyright © 2002, glbtq, Inc. Attribution ShareAlike Reprinted from http://www.glbtq.com License. Photograph by Lesbians Amy Ray and Emily Saliers are Indigo Girls, one of the most successful folk/ Wikimedia Commons pop duos in recording history. Ray and Saliers have carved out an enduring career that contributor Andreac. is due largely to the fierce loyalty of their fans, many of them lesbians. Ray, a native Atlantan, and Saliers, a transplant from Connecticut, met in grade school in Atlanta and became friends. They shared a talent for writing and music and began playing together in Ray's parents' basement. During college at Emory University, they played club dates in and around Atlanta as the "B Band" and later "Saliers and Ray," developing their following and reputation as a particularly strong band in live performance. Beginning in 1981 they released several independent records on tape and in 1985 released a vinyl single, "Crazy Game." That same year Ray selected the name Indigo Girls on "sort of a whim," she explained in an interview years later. "I found it in the dictionary . it's a deep blue, a root--real earthy." The duo signed with Epic Records in 1988. Their first record for Epic, the multi-platinum Indigo Girls, included their best-known song, "Closer to Fine." That year they were nominated for two Grammy awards-- Best New Artist (they narrowly lost to Milli Vanilli) and Best Contemporary Folk Album, which they won.
    [Show full text]
  • Amy Ray Career
    A lot of artists defy categorization. Some do so because they are tirelessly searching for the place they fit, while others are constantly chasing trends. Some, though, are genuinely exploring and expressing their myriad influences. Amy Ray belongs in the latter group. Pulling from every direction — Patty Griffin to Patti Smith, Big Star to Bon Iver — Ray's music might best be described as folk-rock, though even that would be a tough sell, depending on the song. Ray's musical beginnings trace back to her high school days in Atlanta, Georgia, when she and Emily Saliers formed the duo that would become the Indigo Girls. Their story started in 1981 with a basement tape called “Tuesday's Children” and went on to include a deal with Epic Records in 1988, a Grammy in 1990, and nearly 20 albums over more than 30 years. Rooted in shared passions for harmony and justice, the Indigo Girls have forged a career that combines artistry and activism to push against every boundary and box anyone tries to put them in. As activists, they have supported as many great causes as they can, from LGBTQ+ rights to voter registration, going so far as to co-found an environmental justice organization, Honor the Earth, with Winona LaDuke in 1993. As artists, they have dipped their toes into a similar multitude of waters — folk, rock, country, pop, and more — but the resulting releases are always pure Indigo. Ray's six solo sets — and three live albums — have charted even wider seas, from the political punk of 2001's Stag to the feminist Americana of 2018's Holler.
    [Show full text]
  • Punk, Confrontation, and the Process of Validating Truth Claims
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 2011 Being in the Know: Punk, Confrontation, and the Process of Validating Truth Claims Christopher Richard Penna Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Philosophy Commons Recommended Citation Penna, Christopher Richard, "Being in the Know: Punk, Confrontation, and the Process of Validating Truth Claims" (2011). Master's Theses. 525. https://ecommons.luc.edu/luc_theses/525 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2011 Christopher Richard Penna LOYOLA UNIVERSITY CHICAGO BEING IN THE KNOW: PUNK, CONFRONTATION, AND THE PROCESS OF VALIDATING TRUTH CLAIMS A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS PROGRAM IN CULTURAL AND EDUCATIONAL POLICY STUDIES BY CHRISTOPHER R. PENNA DIRECTOR: NOAH W. SOBE, PH.D CHICAGO, IL AUGUST 2011 Copyright by Christopher R. Penna, 2011 All rights reserved. ACKNOWLEDGEMENTS I would first like to thank all of the people who helped me a long this process of writing this thesis. I was blessed to have a line of outstanding professors in my program in Cultural Educational Policy Studies at Loyola University Chicago, but I want to thank in particular, Dr. Noah Sobe for advising me and encouraging me to believe that I am not crazy to write about punk.
    [Show full text]
  • Attends Football Games Survey Says Students Satisfied
    • Breaking 1 October 1,199S Wins • Laureate Every single one of of America Whittier's teams uaker was victorious this Our day with •••••• •. .... renowned poet week. Every single II;,« Jg | ampus Robert Pinsky. one. No kidding. • AIDS Walk Race Matters? This Way Whittier students joined thousands Is Whittier College really as at L.A.'s AIDS Walk, one of the diverse and tolerant as it most famous—and perhaps most flamboyant— fundraising events The Voice Of The Campus Since 1914 claims to be? for AIDS research. Johnson Expects Full Recovery; Attends Football Games • STUDENT "He's now trying to walk without braces," Assistant Foot­ ball Coach Eugene Miranda said. by Liz Valsamis "His condition is that he is QC News Editor okay health wise, but he is not able to communicate verbally. He Having relocated to Haw­ uses an alphabet chart to commu­ thorne under the care of his god­ nicate. When he is out in public, iPlliTOTOl mother, senior Marvin Johnson is '«i he won't really use it, but one on on the way to recovery after the : one he'll use it." car accident that took the lives of Being confined to a wheel­ ^-'•:'-:**tf • :•->' % his mother, brother, his son's •TOTOTOTO^**TO" chair and his inability to speak has mother and left Johnson in a coma. not stopped Johnson from com­ * •* Johnson and his brother's girl­ TO ••: municating his support to the foot­ friend were the only survivors. + • ball team from the stadium stands. :; -TO-a The accident occurred in No­ Marvin Johnson. Johnson has made appearanc­ vember of '97 as the family was es at the recent football games.
    [Show full text]
  • Rock 'N' Roll Camp for Girls and Feminist Quests for Equity, Community, and Cultural Production
    Georgia State University ScholarWorks @ Georgia State University Institute for Women's, Gender, and Sexuality Women's, Gender, and Sexuality Studies Theses Studies 7-31-2006 I'm Not Loud Enough to be Heard: Rock 'n' Roll Camp for Girls and Feminist Quests for Equity, Community, and Cultural Production Stacey Lynn Singer Follow this and additional works at: https://scholarworks.gsu.edu/wsi_theses Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Singer, Stacey Lynn, "I'm Not Loud Enough to be Heard: Rock 'n' Roll Camp for Girls and Feminist Quests for Equity, Community, and Cultural Production." Thesis, Georgia State University, 2006. https://scholarworks.gsu.edu/wsi_theses/2 This Thesis is brought to you for free and open access by the Institute for Women's, Gender, and Sexuality Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Women's, Gender, and Sexuality Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. I’M NOT LOUD ENOUGH TO BE HEARD: ROCK ‘N’ ROLL CAMP FOR GIRLS AND FEMINIST QUESTS FOR EQUITY, COMMUNITY, AND CULTURAL PRODUCTION By STACEY LYNN SINGER Under the Direction of Susan Talburt ABSTRACT Because of what I perceive to be important contributions to female youth empowerment and the construction of culture and community, I chose to conduct a qualitative case study that explores the methods utilized in the performance of Rock ‘n’ Roll Camp for Girls, as well as the experiences of camp administrators, participants, and volunteers, in order to identify feminist constructs, aims, and outcomes of Rock ‘n’ Roll Camp for Girls.
    [Show full text]
  • Riot Dyke: Music, Identity, and Community in Lesbian Film
    i Riot Dyke: Music, Identity, and Community in Lesbian Film by Alana Kornelsen A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, ON © 2016 Alana Kornelsen ii Abstract This thesis examines the use of diegetic pre-composed music in three American lesbian feature films. Numerous trends can be noted in the selection of music in lesbian film broadly— music is often selected to draw on insider knowledge of the target audience of these films, creating cachet. This cachet comes with accompanying “affiliating identifications” (Kassabian 2001) that allow music to be used in the films’ construction of characters’ identities. This is evident in the treatment of music in many lesbian films: characters frequently listen to, discuss, and perform music. This thesis focuses specifically on riot grrrl music and the closely linked genre of queercore (which together Halberstam ([2003] 2008) refers to as “riot dyke”) in three films that focus on the lives of young women: The Incredibly True Adventure of Two Girls in Love (dir. Maria Maggenti, 1995), All Over Me (dir. Alex Sichel, 1997), and Itty Bitty Titty Committee (dir. Jamie Babbit, 2007). By examining how diegetic riot dyke music is used in these three films to build characters’ identities and contribute to the films’ narratives I argue that in these films, riot dyke music is presented as being central to certain queer identities and communities, and that this music (as well as the community that often accompanies it) is portrayed as instigating or providing opportunities for characters’ personal growth and affirming characters’ identities in adverse environments.
    [Show full text]
  • The Disappearing L
    1 The Soundtrack of Our Awakening I seem to have spent my entire life listening to boys talk about music. And sometimes, no matter how smart or untrivial or mean- ingful the boy might be, the sheer aesthetic presence of a masculine voice in record talk can get on my nerves. Because there are so many males talking, all the time, about everything, on television and on the radio, that I just get sick of men. —Sarah Vowell, Radio On We were not the first feminist musicians to sing out, but this tour jump-started a cultural phenomenon that would change the lives of hundreds of thousands of women and men; it laid the ground- work so that a dozen years later, young independent women could dominate the music industry. At the same time, millions of people never even knew it happened. —Holly Near, Fire in the Rain . Singer in the Storm Not wanting to identify with women’s music is the same thing as not wanting to call yourself a feminist. —Kaia Wilson, The Butchies, Co-owner, Mr. Lady Records For more than thirty years, I’ve collected the work of feminist musicians and comedians who enjoyed cult status as lesbian stage performers in the 23 © 2016 State University of New York Press, Albany 24 The Disappearing L 1970s, ’80s, and ’90s. These groundbreaking artists, earning very little in return for what they gave to the women’s community, worked tirelessly as local and national activists. Against all odds, they made the subject of lesbian rights into dance music, whether on bass guitar, piano, banjo, drum kit, saxophone, horn, djembe, or flute.
    [Show full text]
  • Poets on Punk Libertines in Libertines in the Ante-Room of Love: Poets on Punk ©2019 Jet-Tone Press the Ante-Room All Rights Reserved
    Libertines in the Ante-Room of Love: Poets on Punk Libertines in Libertines in the Ante-Room of Love: Poets on Punk ©2019 Jet-Tone Press the Ante-Room All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means, electronic, of Love: mechanical, photocopying, recording, or otherwise, without prior permission of the publisher. Poets on Punk Published by Jet-Tone Press 3839 Piedmont Ave, Oakland, CA 94611 www.Jet-Tone.press Cover design by Joel Gregory Design by Grant Kerber Edited by ISBN: 978-1-7330542-0-1 Jamie Townsend and Grant Kerber Special thanks to Sara Larsen for the title Libertines in the Ante-Room of Love (taken from Sara’s book The Riot Grrrl Thing, Roof Books, 2019), Joel Gregory for the cover, Michael Cross for the extra set of eyes, and Wolfman Books for the love and support. Jet - Tone ©2019 Jet-Tone Press, all rights reserved. Bruce Conner at Mabuhay Gardens 63 Table of Contents: Jim Fisher The Dollar Stop Making Sense: After David Byrne 68 Curtis Emery Introduction 4 Jamie Townsend & Grant Kerber Iggy 70 Grant Kerber Punk Map Scream 6 Sara Larsen Landscape: Los Plugz and Life in the Park with Debris 79 Roberto Tejada Part Time Punks: The Television Personalities 8 Rodney Koeneke On The Tendency of Humans to Form Groups 88 Kate Robinson For Kathleen Hanna 21 Hannah Kezema Oh Bondage Up Yours! 92 Jamie Townsend Hues and Flares 24 Joel Gregory If Punk is a Verb: A Conversation 99 Ariel Resnikoff & Danny Shimoda The End of the Avenida 28 Shane Anderson Just Drifting
    [Show full text]
  • Video Art at the Woman's Building
    [From Site to Vision] the Woman’s Building in Contemporary Culture The [e]Book Edited by Sondra Hale and Terry Wolverton Stories from a Generation: Video Art at the Woman’s Building Cecilia Dougherty Introduction In 1994 Elayne Zalis, who was, at the time, the Video Archivist at the Long Beach Mu- seum of Art, brought a small selection of tapes to the University of California at Irvine for a presentation about early video by women. I was teaching video production at UC-Irvine at the time and had heard from a colleague that Long Beach housed a large collection of videotapes produced at the Los Angeles Woman’s Building. I mistakenly assumed that Zalis’s talk was based on this collection, and I wanted to see more. I telephoned her after the presentation. She explained that the tapes she presented were part of a then current exhibition called The First Generation: Women and Video, 1970-75, curated by JoAnn Hanley. She said that although the work from The First Generation was not from the Woman’s Building collection, the Long Beach Museum did in fact have some tapes I might want to see. Not only did they have the Woman’s Building tapes, but there were more than 350 of them. Moreover, I could visit the Annex at any time to look at them. I felt as if I had struck gold.1 Eventually I watched over fifty of the tapes, most of which are from the 1970s, and un- earthed a rich and phenomenal body of early feminist video work.
    [Show full text]