Visualizing Fugazi
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Rill^ 1980S DC
rill^ 1980S DC rii£!St MTEVOLUTIO N AND EVKllMSTINO KFFK Ai\ liXTEiniKM^ WITH GUY PICCIOTTO BY KATni: XESMITII, IiV¥y^l\^ IKWKK IXSTRUCTOU: MR. HiUfiHT FmAL DUE DATE: FEBRUilRY 10, SOOO BANNED IN DC PHOTOS m AHEcoorts FROM THE re POHK UMOEAG ROUND pg-ssi OH t^€^.S^ 2006 EPISCOPAL SCHOOL American Century Oral History Project Interviewee Release Form I, ^-/ i^ji^ I O'nc , hereby give and grant to St. Andrew's (interviewee) Episcopal School llie absolute and unqualified right to the use ofmy oral history memoir conducted by KAi'lL I'i- M\-'I I on / // / 'Y- .1 understand that (student interviewer) (date) the purpose of (his project is to collect audio- and video-taped oral histories of first-hand memories ofa particular period or event in history as part of a classroom project (The American Century Project). 1 understand that these interviews (tapes and transcripts) will be deposited in the Saint Andrew's Episcopal School library and archives for the use by ftiture students, educators and researchers. Responsibility for the creation of derivative works will be at the discretion of the librarian, archivist and/or project coordinator. I also understand that the tapes and transcripts may be used in public presentations including, but not limited to, books, audio or video doe\imcntaries, slide-tape presentations, exhibits, articles, public performance, or presentation on the World Wide Web at t!ic project's web site www.americaiicenturyproject.org or successor technologies. In making this contract I understand that I am sharing with St. Andrew's Episcopal School librai-y and archives all legal title and literary property rights which i have or may be deemed to have in my inten'iew as well as my right, title and interest in any copyright related to this oral history interview which may be secured under the laws now or later in force and effect in the United States of America. -
Norway's Jazz Identity by © 2019 Ashley Hirt MA
Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization. -
The Complete Poetry of James Hearst
The Complete Poetry of James Hearst THE COMPLETE POETRY OF JAMES HEARST Edited by Scott Cawelti Foreword by Nancy Price university of iowa press iowa city University of Iowa Press, Iowa City 52242 Copyright ᭧ 2001 by the University of Iowa Press All rights reserved Printed in the United States of America Design by Sara T. Sauers http://www.uiowa.edu/ϳuipress No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whom it has not been possible to reach. The publication of this book was generously supported by the University of Iowa Foundation, the College of Humanities and Fine Arts at the University of Northern Iowa, Dr. and Mrs. James McCutcheon, Norman Swanson, and the family of Dr. Robert J. Ward. Permission to print James Hearst’s poetry has been granted by the University of Northern Iowa Foundation, which owns the copyrights to Hearst’s work. Art on page iii by Gary Kelley Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Hearst, James, 1900–1983. [Poems] The complete poetry of James Hearst / edited by Scott Cawelti; foreword by Nancy Price. p. cm. Includes index. isbn 0-87745-756-5 (cloth), isbn 0-87745-757-3 (pbk.) I. Cawelti, G. Scott. II. Title. ps3515.e146 a17 2001 811Ј.52—dc21 00-066997 01 02 03 04 05 c 54321 01 02 03 04 05 p 54321 CONTENTS An Introduction to James Hearst by Nancy Price xxix Editor’s Preface xxxiii A journeyman takes what the journey will bring. -
Dischord Records 3819 BEECHER ST
FUGAZi "First Demo" dischord rEcords DIS181 DIS181CD 11-song CD DIS181V 11-song LP+MP3 Release Date: November 18, 2014 Ian MacKaye - vocals, guitar Guy Picciotto - vocals Joe Lally - bass Brendan Canty - drums In early January 1988 and after only ten shows, Fugazi decided to go into Inner Ear Studio to see what their music sounded like on tape. Despite the fact that Ian, Joe, and Brendan had been playing together for nearly a year, it was still early days for the band. Guy had only been a full member of Fugazi for a few months and only sang lead on one song ("Break In"). It would be nearly another year before he would start playing guitar with the band. At that time, the studio was still located in the basement of engineer Don Zientara's family house. It was a familiar space as almost all of the members of Fugazi had recorded there with their previous bands (Teen Idles, Minor Threat, Deadline, Insurrection, Rites of Spring, Skewbald, Embrace, and One Last Wish). Joey Picuri (aka Joey P), who would later become one of Fugazi's longtime sound engineers, joined the band for the initial tracking. The sessions only lasted a couple of days, but tour dates and indecision about the tape would delay the final mix for another two months. Though the band was at first pleased with the results, it soon became clear that this tape would remain a demo as new songs were being written and the older songs were evolving and changing shape while the band was out on tour. -
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. -
Kurt Sayenga Interviewed by John Davis June 13, 2017 Pasadena, California 0:00:00 to 1:22:55
Kurt Sayenga Interviewed by John Davis June 13, 2017 Pasadena, California 0:00:00 to 1:22:55 ________________________________________________________________________ 0:00:00 Sayenga: I’m Kurt Sayenga. Davis: And I’m John Davis. I’m the performing arts metadata archivist at the University of Maryland. Today is June 13th, 2017. So, we're here to talk about your work that you did with fanzines in Washington D.C., particularly in the… Sayenga: My juvenilia, yes. Davis: Yes, [laugh] in the 1980s. I’m basically trying to speak to people to hear their stories about why they did zines, how they did zines. What were the experiences like? What did they take from it? You today, how do you connect to it? All these things. I’m just kind of trying to review that with some people who have done fanzines, who are from D.C. and just see kind of where it took them, as well as how they did it. So as far as Greed goes, first issue was I think 1985? Let’s consult. Sayenga: Good question. I’m going to look it up here. Let’s see. Oh, there’s a picture of—man, late Winter 1986. [laugh] Davis: OK. Very specific. Sayenga: So basically probably almost 1987, which makes it—no, ’86 is right though, because I know it took a while to actually pull it all together. So, well, sort of relatively—it seemed like a while at the time, because everything seemed to take forever. But actually when you look at it, it all flowed together with amazing speed. -
This Ain't a Scene, It's a Buzzer Race.Pdf
This Ain’t a Scene, It’s a Buzzer Race Sadboys are temporary. Sad trumpets are forever. Written by Brian Luong Tossups: 1. This band’s extensive and impressive merchandise catalogue can be attributed to guitarist Nick Steinhardt’s side occupation as a graphic designer. A live EP following this band’s sophomore studio album was titled Live on BBC Radio 1 and featured vocals from Jordan Dreyer of La Dispute. It’s not Red Hot Chili Peppers, but this band’s distinct asterisk-shaped logo was meant to evoke converging road markings leading to a sunset, and was first used in promotional artwork for the band’s second album, with that album’s initials “PTSBBAM” arranged in the negative spaces of the logo. This band’s 2016 single “Palm Dreams” was described by their frontman as a song about his inability to ask his mother about why she moved to California after she passed. The album from which that single is taken, as a whole, deals with themes of frontman Jeremy Bolm grieving the loss of his mother due to cancer. For 10 points, give the name of this Los Angeles-based post-hardcore band, which you may know from the albums Parting the Sea Between Brightness and Me and Stage Four. ANSWER: Touché Amoré 2. This website once hosted a stand-up and sketch comedy tour titled All Comics Are Bastards. This website’s sister site was also responsible for the creation and management of the Twitter account of Ace Watkins, whose bio reads, “The only Gamer running for President of the United States”. -
BRENT GREEN /A BRIEF SPARK BOOKENDED by DARKNESS W
BRENT GREEN / A BRIEF SPARK BOOKENDED BY DARKNESS w/ The Messthetics CONTACT: Thomas O. Kriegsmann, President E [email protected] T 917.386.5468 www.arktype.org ABOUT A BRIEF SPARK BOOKENDED BY DARKNESS A wholly unique live cinema experiment live cinema conceived and illustrated by acclaimed filmmaker, mu- sician and author Brent Green, the work features live music by The Messthetics (Brendan Canty and Joe Lally of Fugazi with guitarist Anthony Pirog) and includes several short film works all narrated live with addition- al musical accompaniment. The full length evening of work includes A Brief Spark Bookended by Darkness, Carlin, Paulina Hollers, Hadacol Christmas and Strange Fates, along with Green’s own commentary and unfurl- ing rapport with the audience that defines the unique, localized experience of every engagement. A Brief Spark Bookended by Darkness is characterized by Green’s spindly drawing style and moving musical score guided by spoken lyrics in the artist’s inimitable, quivering voice. The story he recounts is caught up in despair and apprehension – as he seeks comfort by losing himself in his love of another. The world that Green presents is so intimate as to verge on the claustrophobic, a startling carnival set-up in a cramped bedroom. Though made to appear damaged and from another era, everything about A Brief Spark is calculated, consid- ered and timed to affect. All of this poignantly represents Green’s themes of deep and desperate love, in a world that is endlessly on the verge of calamity. 2 3 4 TOUR & PRODUCTION AVAILABILITY 2019-20 WORLDWIDE OPEN Production: Cinematic Video Projection Space: Black Box / Proscenium Band /Vocal Amplification Tour Personnel: 4 Performers Backline 1 Tech / Company Management Schedule: Same Day Load-in / Tech / Perform 5 COMPANY BIOGRAPHIES Working on his farm outside of New Paltz, NY, Brent urgent and inspired, and the portraits of musicians and Green is a self-taught visual artist and filmmaker. -
Brian Gathy Interviewed by John Davis March 25, 2020 Phone Interview 0:00:00 to 0:31:38 ______
Brian Gathy interviewed by John Davis March 25, 2020 Phone interview 0:00:00 to 0:31:38 ________________________________________________________________________ 0:00:00 John Davis: Today is Wednesday, March 25th, 2020. My name is John Davis. I am the Interim Curator of Special Collections in Performing Arts at the University of Maryland, speaking to Brian Gathy of Yet Another Unslanted Opinion fanzine, which I believe ran for five issues. Is that right? Brian Gathy: That’s correct. Davis: And that was about ’85 to ’86 or so? Gathy: Yeah. That sounds right. I feel like we did a sixth issue that was kind of just a quick hodgepodge, but my memory could be wrong. We'll just say five, to keep it safe. Davis: So before we kind of get into the zine itself, could you tell me about how you got interested in punk in the first place, and what it was like growing up around the D.C. area at that time? Was it D.C. punk that got you first, or was it punk from outside of D.C. and then you learned about what was happening here? What was it for you? Gathy: It’s kind of interesting, ‘cause I literally just talked about this topic on my podcast. But I moved to D.C. in ’83 from Virginia Beach, and I had gotten into punk in Virginia Beach. I had some friends at school that—a group of kids that would play music on the bus, and they had stuff like Black Flag and all that sort of thing, playing on a boom box. -
Christoph Green & Brendan Canty
For Immediate Release: June 7, 2018 Contact: Michael Mitchell 202-671-2338 [email protected] OCTFME Recognizes Christoph Green and Brendan Canty as the June 2018 Filmmakers of the Month Local filmmakers celebrate the DC Premiere of their new documentary feature “The Liberation” at AFI DOCS this month. Washington, D.C. -- The District of Columbia Office of Cable Television, Film, Music, and Entertainment (OCTFME) is pleased to recognize Trixie Film co-founders Christoph Green and Brendan Canty as the June 2018 Filmmakers of the Month. Christoph Green graduated from the Maryland Institute College of Art with a BFA in Painting and began working as a designer specializing in broadcast design. He started an independent design company, Tangerine Studios, an award-winning shop, which over the years boasted clients such as The National Gallery of Art, The Discovery Channel, The Glover Park Group, PBS, PBS Kids, The Virginia Department of Health, AOL Devices, The Obama-Biden Campaign, and TLC. Brendan Canty is most well known as the drummer for the legendary DC-based band puck rock band, Fugazi. In addition to his longtime association with Fugazi, Canty also worked with several other bands during his celebrated career as a musician, including Rites of Spring, Deadline, One Last Wish, Happy Go Licky, Bob Mould, and Deathfix. Canty currently if a member of the band Super! Silver! Haze!, and the instrumental trio, The Messthetics. In addition to his work as a musician, Canty has also and produced records for Ted Leo, The Thermals, the Make Up, and others. Canty has composed music for dozens of hours of television and film and has performed the live score to films with the great filmmakers Sam Green and Brent Green. -
About Emo Youth Subculture Better Understanding of Youth Subculture Is Essential
Information Resource (http://smhp.psych.ucla.edu/pdfdocs/youth/emo.pdf) A Series of Information Resources on Youth Subcultures: Understanding Subgroups to Better Address Barriers to Learning & Improve Schools As calls for addressing barriers to student learning and improving schools increase, About Emo Youth Subculture better understanding of youth subculture is essential. This series is intended to stimulate thinking about the implications Our focus here is on briefly highlighting: for policy and practice of the complex, multifaceted subgroups with which youth come to be identified and/or assigned by (1) how youth are identified as “emos” peers. (2) the impact of this “subgroup” Public health and education policy (3) prevalent policy and practice efforts to address makers, practitioners, researchers, and educators need to know as much as they negative impact can about the factors that lead youth to (4) data on intervention efforts manifest behaviors stemming from group defined values, beliefs, attitudes, and (5) proposed new directions interests. Such understanding is basic to promoting healthy development, (6) resources for more information. preventing problems, intervening as soon as problems arise, and enhancing intervention impact on severe and chronic problems. To these ends, the Center is producing a series of resources, such as this one, as aids for policy and practice analyses, research, education, and school and community improvement planning. The Center for Mental Health in Schools is co-directed by Howard Adelman and Linda Taylor and operates under the auspices of the School Mental Health Project, Dept. of Psychology, UCLA, Los Angeles, CA 90095-1563. Phone: (310) 825-3634. Permission to reproduce this document is granted. -
Gravity Was Everywhere Back Then / Brent Green
EMPAC STAFF Johannes Goebel / Director Eric Ameres / Senior Research Engineer David Bebb / Senior System Administrator Peter Bellamy / Systems Programmer Michael Bello / Video Engineer Eric Brucker / Lead Video Engineer John Cook / Box Office Manager Laura Desposito / Production Administrative Coordinator Kevin Duggan / Senior Advancement Officer Angel Eads / Master Electrician Zhenelle Falk / Artist Services Coordinator Kathleen Forde / Curator, Time-Based Arts William Fritz / Master Carpenter Kimberly Gardner / Manager, Administrative Operations Ian Hamelin / Project Manager Ryan Jenkins / Event Technician Shannon Johnson / Web Director CathyJo Kile / Business Manager Hélène Lesterlin / Curator, Dance + Theater Janette MacDonald / Executive Assistant Stephen McLaughlin / Event Technician Geoff Mielke / Associate Director For Stage Technologies brent green Jason Steven Murphy / PR + Marketing Manager Laura Perfetti / Guest Services Coordinator Andrew Rarig / Graphic Designer Candice Sherman / Business Coordinator Micah Silver / Curator, Music GRAVITY WAS Avery Stempel / Front of House Manager Jeffrey Svatek / Audio Engineer Robin Thomas / Administrative Specialist Stephanie Tribu-Cromme / Event Technician Todd Vos / Lead Audio Engineer EVERYWHERE Pete Wargo / Manager, Information Systems David Watson / Web Developer Emily Zimmerman / Assistant Curator BACK THEN september 10, 2010 :: 8pm www.empac.rpi.edu CURTIS R. PRIEM EXPERIMENTAL MEDIA AND PERFORMING ARTS CENTER 518.276.3921 GRAVITY WAS EVERYWHERE BACK THEN 70 minutes Based on the true tale of Kentucky hardware clerk Leonard Wood, Brent Green’s Gravity Was Donna K. lives in a rural Pennsylvanian barn where she makes a lot of stuff like art Everywhere Back Then tells the poignant and darkly humorous love story of a man who built and cookies. She has made animations for the fiction journal Electric Literature, the a bizarre and sprawling home for his wife in the hope that it would cure her of terminal cancer.