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Winter 2011 – 12 December 2011 – March 2012 OVERVIEW Winter at the Power Plant
exhibitions / programs / events Winter 2011 – 12 December 2011 – March 2012 OVERVIEW Winter at The Power Plant Our Winter season presents two major The evening before the opening of the Winter exhi- exhibitions that delve into a wellspring bitions, Stan Douglas will speak in our International Lecture Series (8 December), while the influential of cultural history and the archive of artist Martha Rosler will give an ILS presentation a the social. week later, on 15 December. In the new year, in addition to a lecture by participating artist Stan Douglas: Entertainment features selections Christian Holstad, Coming After extends into a from the Vancouver artist’s outstanding new series of live events and film programs co-present- photographic project Midcentury Studio, in which ed with the Feminist Art Gallery and the Art Gallery Douglas assumes the lens of a postwar photogra- of York University, in tandem with their retrospec- pher as he takes on various jobs from photojour- tive of the late Toronto artist Will Munro. nalism to advertising. The exhibition includes In addition, we are pleased to collaborate with images of novelties and divertissements, as well as World Stage, Harbourfront Centre’s international his Malabar People suite of portraits of the performing arts series for the theatrical run of denizens of a fictional nightclub. The bars, clubs Everything Under the Moon by Toronto artist Shary and bathhouses that appear in the work in the Boyle (who had a solo exhibition at The Power Plant group exhibition Coming After, however, are in 2006) and Winnipeg musician Christine Fellows, absent of revelers — as if the party is over. -
Sinbad in the Rented World
Sinbad in the Rented World Sinbad in the Rented World JOEL GIBB ANDREW HARWOOD JEREMY LAING AND WILL MUNRO IAN PHILLIPS THE ENSEMBLE OF TOPS ‘N’ BOTTOMS SCOTT TRELEAVEN Ian Phillips Untitled Found Object, 2003 [detail] Sinbad in the Rented World WITH AN ESSAY BY R.M. VAUGHAN AND A STORY BY DEREK MCCORMACK ART GALLERY OF YORK UNIVERSITY TORONTO Jeremy Laing and Will Munro Pavilion of Virginia Puff-Paint, 2004 [detail] ON THE OTHER HAND Sinbad in the Rented World With the title, Sinbad in the Rented World, I pay homage to the legacy of the legendary underground filmmaker and performer Jack Smith, referring to one of his unfinished film projects. Not that I suspect Smith’s legacy to be fulfilled by the artists in the exhibition—or even his amazing achievements in film, experimental theatre, and installation necessarily to be known. What I want to explore is a queer aesthetic in Toronto art but as applied to social function. Is this a new phenomenon? Perhaps, if we are willing to stretch our understanding of the parameters of visual culture—or queer art. One might not think that glamour or the superficial excess of glitter could have a social function, but Smith adamantly believed so saying: “Could art ever be useful? Ever since the desert glitter drifted over the burnt-out ruins of Plaster Lagoon thousands of artists have pondered and dreamed of such a thing, yet, art must not be used anymore as another elaborate means of fleeing from thinking because of the multiplying amount of information each person needs to process in order to come to any kind of decision about what kind of planet one wants to live on before business, religion, and government succeed in blowing it out of the solar system.”* The environmental costuming of the gallery (to extend a phrase of Charles Ludlam’s) that takes place here can be considered co-extensive with social practices in the world, even if the works herein contained seem too playful. -
SEPTEMBER 2004 Any Persons Living Or Dead Is Coincidental
THE h o t t i e OF THE LINING BIRDCAGES SINCE 1997 FRENCH ISSUE month EDITOR-IN-CHIEF Todd Nienkerk olores MANAGING EDITOR Kristin Hillery DESIGN DIRECTOR JJ Hermes Gifter of Bibles ASSOCIATE Elizabeth Barksdale EDITORS Ryan B. Martinez D WRITING STAFF Kathryn Edwards Who is this hot Magdalenian mama beckoning me to her Bradley Jackson Fertile Crescent? Your lips, swollen with Passion, coax me into Chanice Jan Todd Mein the sizzling sinlessness of scripture. Did you spill some Holy John Roper Joel Siegel Water on your lap, or are you just anticipating the Rapture? Christie Young Press me against your virginal bosom so I can be DESIGN STAFF David Strauss born again, and again — and again! Christina Vara ADVERTISING Emily Coalson vital stats PUBLICITY Stan Babbitt Hobbies: Accepting missionary positions, being an open book, shopping at the Dress Barn, DISTRIBUTION Stephanie Bates “Bible”-beating, being on her knees WEBMASTER Mike Kantor ADMINISTRATIVE Erica Grundish Turn-ons: submission, “Dogma,” destruction of Sodom and Gomorrah, Abel SUPERVISOR Turn-offs: Getting off the high horse, abridging, “The DaVinci Code”, polytheism, birth ADMINISTRATIVE Leala Ansari control, Cain, lap dances, Darwin, the Pope-mobile ASSISTANTS Doug Cooper Jef Greilich Sara Kanewske meeting at busy intersections to play right-of-way • People running to class look funny and deserve to Lindsay Meeks games with speeding vehicles. be laughed at. Jill Morris Garrett Rowe • Overeager returning students will continue to • The 40 Acres Buses will be renamed “40- Toby Salinger like school enough for the both of you. Thousand Acres.” If they weren’t traveling 40,000 Ari Schulman around • Captain Clueless will attempt to charm you by acres, why else would they take so goddamn long Laura Schulman turning courteous small talk into a biographical and travel caravan-style? Eric Seufert discourse about himself. -
Wm- F*Ac*Mi*I J I AUGUST 12 AUGUST 161 AUGUST 19 FRIDAY AUGUST 201 77K HEY MIGHT E GIANTS Flilagess-Vogcte! SPINE on the HIGHWAY TOUR
;&;..—,>'• r..- :y „o Wm- F*Ac*Mi*i J I AUGUST 12 AUGUST 161 AUGUST 19 FRIDAY AUGUST 201 77k HEY MIGHT E GIANTS flilAGESS-VOGCte! SPINE ON THE HIGHWAY TOUR RY DJS PANDEMONH MALEflCENT - AND HSR BAND I RICHARD'S ON RICHARDS I I COMMODORE BALLROOM | | COMMODORE BALLROOM FRIDAY SEPTEMBER 31 1 SFPTEMBERTI I SEPTEMBER 7 BURJNI1NG factfto face SPEAR TOOTS AND THE- PINCH ^l»W&t* I I •COVE [TOUNTERFIT AND GUESTS MY CHEMICAL ROMANCE Conce. itember 51 BETA FACTOR B IS TICKETS ALSO AT SATURDAYS ZULU AND SCRATCH MALKIN BOWL, DOORS 7PM, SHOW 8PM t<Pr^ I ALL AGES IC8MMIIDME BSLLBOOM | IAN CULTURAL CEN I SEPTEMBER!?! fsiEPTEMBER2B| ^^MoJ^^^^^^Sy. momGRum TJLl m>J!'Z ev£~*4%S0i WmMMi ITHOUTYOU I mmmxtmn I CROATIAN CULTURAL CENTRE 1 I COMMODORE BALLROOM I WKBm SNOWj "*sarah IHSIDEIJUDOMMY^I ATR PI Jrarmer ECOBIBING with Josh ritter limp*: SEPTEMBER 28 ->mm October 16 RICHARD'S SEPTEMBER 27 ON RICHARDS COMMODORE OCTOBER 18 BALLROOM COMMODORE BALLROOM TICKETS ALSO AT ZULU PURCHASE TICKETS SQQGOO AT hob,com OR ticketmaster.ca ticUetmaster604-280-44427y SCREW THE REST, THIS IS THE REAL DEAL THAT "WHY YOU DIDN'T MIL ME?"MAGAZINE FROM CiTR 101.9FM EDITglX i-M Siddle ADMAN Jason Bennet FEATURES Attention all bands, PRODUCTION MANAGER BaserrlffiiT Sweets p.9 musicians, drumming monkeys! Blimp.10 ART DIRECTOR Fake Cops p. 11 Dale Davies ^^pder the Volcano pvl2 EDITORIAQKSSISTANT ^S^ei^^cording p. 13 TA EDITOR r^3j|^^pyra DraciMfic!/'"^ REGULARS FroT*rM®£) lsk of... S^ JI^EDITOR t mm ^;^uckj|(g|BlwIls1nit pjife |? LAYOUT & DESIGN -Dale Davies fff^iff I^Hp ^t^Saeme Worthy '^'|rextUal^^tjve p.8 ^^^on ^iisflliiif&b Underlf^^^vsf p^^" l^^^py^Draculem §||f|§y & rat (big tim|| Real Live Action p. -
The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC). -
The Promise and Uncertainty of Pre-Exposure Prophylaxis
FREE 36,000 AUDITED CIRCULATION TORONTO’S GAY & LESBIAN NEWS FEB 6–19, 2014 FEB 6–19, #764 CAN THIS PILL PREVENT @dailyxtra facebook.com/dailyxtra facebook.com/dailyxtra HIV? The promise and uncertainty of dailyxtra.com pre-exposure prophylaxis E14 More at More 2 FEB 6–19, 2014 XTRA! TORONTO’S GAY & LESBIAN NEWS COMING SOON AT YONGE WITH DIRECT ACCESS TO WELLESLEY SUBWAY A series of illuminated boxes, carefully stacked. Spaces shifted gently left and right, geometry that draws the eye skyward. Totem, a building that’s poised to be iconic, is about great design and a location that fits you to a T. When you live here, you can go anywhere. Yonge Street, Yorkville, the Village, College Park, Yonge- Dundas Square, the Annex, University of Toronto and Ryerson are just steps away. IN FACT, TOTEM SCORES A PERFECT 100 ON WALKSCORE.COM! Plus, you’ve got sleek, modern suites, beautiful rooftop amenities and DIRECT ACCESS TO YOUR OWN SUBWAY ENTRANCE. THIS IS TOTEM. FROM THE MID $200’S SHIFT YOUR LIFESTYLE. get on it. REGISTER. totemcondos.com 416.792.1877 17 dundonald st. @ yonge street RENDERINGS ARE AN ARTIST’S IMPRESSION. SPECIFICATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE. E.&O.E. EXCLUSIVE LISTING: BAKER REAL ESTATE INCORPORATED, BROKERAGE. BROKERS PROTECTED. MORE AT DAILYXTRA.COM XTRA! FEB 6–19, 2014 3 XTRA Published by Pink Triangle Press SHERBOURNE HEALTH CENTRE PUBLISHER & EDITOR-IN-CHIEF Brandon Matheson 333 SHERBOURNE STREET TORONTO, ON M5A 2S5 EDITORIAL ADVERTISING MANAGING EDITOR Danny Glenwright ADVERTISING & SALES DIRECTOR Ken Hickling -
Investigating Race, Space and Meaning in Toronto's Queer Party
AND YA DON’T STOP: INVESTIGATING RACE, SPACE AND MEANING IN TORONTO’S QUEER PARTY ‘YES YES Y’ALL’ by Trudie Jane Gilbert, BSW, University of British Columbia, 2015 A Major Research Paper presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the program of Immigration and Settlement Studies Toronto, Ontario, Canada © Trudie Jane Gilbert 2017 AUTHOR’S DECLARATION I hereby declare that I am the sole author of this Major Research Paper. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. Trudie Jane Gilbert ii AND YA DON’T STOP: INVESTIGATING RACE, SPACE AND MEANING IN TORONTO’S QUEER PARTY ‘YES YES Y’ALL’ Trudie Jane Gilbert Master of Arts 2017 Immigration and Settlement Studies Ryerson University ABSTRACT This Major Research Paper (MRP) is a case study of the queer hip hop and dancehall party Yes Yes Y’all (YYY). This MRP seeks to challenge white, cismale metanarratives in Toronto’s queer community. This paper employs Critical Race Theory (CRT) and queer theory as theoretical frameworks. Racialization, racism, homophobia, homonormativities and homonational rhetoric within queer discourses are interrogated throughout the analysis. -
The Teaches of Peaches: Rethinking the Sex Hierarchy and the Limits of Gender
MA MAJOR RESEARCH PAPER The Teaches of Peaches: Rethinking the Sex Hierarchy and the Limits of Gender Discourse by Christina Bonner Supervised by Dr. Jennifer Brayton The Major Research Paper is submitted in partial fulfillment of the requirements for the degree of Master of Arts Joint Graduate Program in Communication & Culture Ryerson University -- York University Toronto, Ontario, Canada, 2010 © Christina Bonner 2010 I hereby declare that I am the sole author of this research paper. I authorize Ryerson University to lend this research paper to other institutions or individuals for the purpose of scholarly research. 7 / ChristinaLBonner I further authorize Ryerson University to reproduce this research paper by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. EMlstma Honner ii The Teaches of Peaches: Rethinking the Sex Hierarchy and the Limits of Gender Discourse Christina Bonner Master of Arts, Program in Communication and Culture Ryerson and York University 2010 Abstract: The goal of this Major Research paper is an exploration detailing how Canadian Electro-Pop artist Peaches Nisker transcends nonnative gender and sex politics through perfonnance and frames the female erotic experience in a way that not only disempowers heterosexuality but also provides a broader more inclusive sexual politics. Through this analysis I focus specifically on three distinct spheres; perfonnance, fandom and use of technology to argue that her critique of sexual conventions provides an cxpansive and transgressive new defmition of female sexuality. Musical perfonnances by female artists, particularly icons such as Madonna and Britney Spears, have demonstrated popular culture's inability to legitimize quecr and non compulsory heterosexual practices. -
UAAC Conference.Pdf
Friday Session 1 : Room uaac-aauc1 : KC 103 2017 Conference of the Universities Art Association of Canada Congrès 2017 de l’Association d’art des universités du Canada October 12–15 octobre, 2017 Banff Centre for Arts and Creativity uaac-aauc.com UAAC - AAUC Conference 2017 October 12-15, 2017 Banff Centre for Arts and Creativity 1 Welcome to the conference The experience of conference-going is one of being in the moment: for a few days, we forget the quotidian pressures that crowd our lives, giving ourselves over to the thrill of being with people who share our passions and vocations. And having Banff as the setting just heightens the delight: in the most astonishingly picturesque way possible, it makes the separation from everyday life both figurative and literal. Incredibly, the members of the Universities Art Association of Canada have been getting together like this for five decades—2017 is the fifteenth anniversary of the first UAAC conference, held at Queen’s University and organized around the theme of “The Arts and the University.” So it’s fitting that we should reflect on what’s happened in that time: to the arts, to universities, to our geographical, political and cultural contexts. Certainly David Garneau’s keynote presentation, “Indian Agents: Indigenous Artists as Non-State Actors,” will provide a crucial opportunity for that, but there will be other occasions as well and I hope you will find the experience productive and invigorating. I want to thank the organizers for their hard work in bringing this conference together. Thanks also to the programming committee for their great work with the difficult task of reviewing session proposals. -
Supreme Being LOS ANGELES 11.09.14
SCENE & HERD Supreme Being LOS ANGELES 11.09.14 Left: Jack Black with artist Steven Hull. Right: Steven Hull's Circus of Death installation. (Photos: Miriam Katz) “FUCK THIS VIP SHIT—I want some real California dick!” cried a braless Bridget Everett as she made her way toward the general admission section of the crowd. Everett eventually found an object for her affection, a masked dandy she nicknamed “Corky” (cause he was “Down’s-y in the eyes”), whom she cajoled into playing a grown-up game of airplane, bearing the weight of her significant frame right there in the middle of the stage. Soon enough she was motorboating Peaches (the musician, not the fruit), forcing a security guard’s head up her dress, and crooning gorgeously about lady parts of various shapes and sizes. The sun was still shining, but she was working on her night moves. FOMO abounded among the ten thousand attendees at the second annual Festival Supreme, a ten-hour comedy, music, and visual art event organized by Jack Black and Kyle Gass of Tenacious D. Many sported elaborate costumes as we navigated the fifty-plus live acts across four stages, as well as a fifty four-thousand-square-foot art installation, all in an early-twentieth-century Shriners temple located in downtown Los Angeles. The lineup was sick (Fred Armisen, Margaret Cho, Nick Kroll, to name a few), and as if that weren’t enough, special, surprise guests included Weird Al Yankovic, who shredded the Keytar with Tenacious D, and Zach Galifianakis, who starred, along with Orange Is the New Black’s Lauren Lapkus and Parks and Recreation’s Adam Scott, in a live rendition of Scott Aukerman’s podcast and IFC show Comedy Bang! Bang! The heart of the festival lay in its focus on comedy music, a seemingly puerile medium with surprisingly lofty potential. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H. -
The Cord Weeklythe Tie That Binds Since 1926 GETTING the GRAD(E) HOLIDAY SURVIVAL Looking to Apply to Grad School? Find How to Maintain Your Christmas
The Cord WeeklyThe tie that binds since 1926 GETTING THE GRAD(E) HOLIDAY SURVIVAL Looking to apply to grad school? Find How to maintain your Christmas out how in our feature ... PAGES 16-17 spirit next month ... PAGES 19-21 Volume 48 Issue 16 WEDNESDAY NOVEMBER 28,2007 www.cordweekly.com Hawk rock round two The second round of Last Band Standing results in the victory of uncreative Hedley imposters REBECCA VASLUIANU almost like Tool's, Phineas Gage's STAFF WRITER poor vocals and unkempt gui- tar-work made the group sound Another battle between bands left more like radio-rejects Three Days the audience feeling unimpressed, Grace. energized and then just confused. Yet the low of Phineas Gage's Taking place at Wilf's last Thurs- sloppy performance came during day, the second round of Tast Band their second song, when Matthias Standing proved to be an enjoyable and bassist Aaron Schwab attempt- night alternating between great in- ed a vocal harmony at which even genuity and a few lame attempts at the most tone-deaf listener would have cringed. Competing for the title of Tast Despite this harsh critique, Band Standing were Phineas Gage, Phineas Gage showed buds of po- Crown and Coke and Music Box. tential through their interesting Heading up the night, Kitchener intros and solos, which displayed natives Phineas Gage delivered a lot more instrumental depth than an entirely subpar performance the rest of their material and were of depressing alternative rock, free from interference from Matth- which left the audience thoroughly ias's second-rate vocal stylings.