Poets, Punks & Revolutionaries
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Scenes from a Punk Rock and Storytelling Show, for Deaf People by NATHAN REESE APRIL 29, 2016
Scenes From a Punk Rock and Storytelling Show, for Deaf People By NATHAN REESE APRIL 29, 2016 At its best, punk rock relies on an admixture of velocity, attitude and volume —which is exactly what made last night’s Deaf Club event a smash success. The show, held at the Knockdown Center in Maspeth, Queens, a former door factory turned interdisciplinary arts space, was curated by the Los Angeles- based artist Alison O’Daniel who, herself, is hard of hearing. The event was a live extension of O’Daniel’s “The Tuba Thieves” (currently a part of her “Room Tone” exhibition) — a film that explores the events surrounding an unlikely series of tuba thefts in Los Angeles schools. One portion, however, also recreates a performance in the Deaf Club, a now-defunct social club for San Francisco’s deaf community that hosted punk shows in 1979. As the story goes, Robert Hanrahan, the manager for the punk band the Offs, was walking by it, saw a sign reading “The Deaf Club” and thought it was a cool, unexpected name for a concert venue. After realizing his mistake, he asked if his band could play — a message he originally wrote on a napkin. “I’m not a punk historian,” said O’Daniel. “My interest comes more from the deaf community. It’s the meeting of two totally disenfranchised communities — it’s really beautiful.” Eventually, bands including Dead Kennedys and Pink Section would record albums at the venue, forever sanctifying it in punk lore. (A core irony of the story, and also fittingly punk, was that the shows eventually came to a halt because of noise complaints.) But the goal of last night’s event wasn’t an attempt to dispel hearing people’s outmoded assumption that the deaf world doesn’t (or can’t) appreciate music — though that notion seemed ready to explode along with the tower of amps — but rather, to create an environment where people of all ages and backgrounds could revel in the power of punk and performance art. -
Rose Wylie 'Tilt the Horizontal Into a Slant'
Rose Wylie Tilt The Horizontal Into A Slant 4 TILT THE HORIZONTAL INTO A SLANT TILT THE HORIZONTAL INTO A SLANT 5 INTRO Rose Wylie’s pictures are bold, occasionally chaotic, often unpredictable, and always fiercely independent, without being domineering. Wylie works directly on to large unprimed, unstretched canvases and her inspiration comes from many and varied sources, most of them popular and vernacular. The cutout techniques of collage and the framing devices of film, cartoon strips and Renaissance panels inform her compositions and repeated motifs. Often working from memory, she distils her subjects into succinct observations, using text to give additional emphasis to her recollections. Wylie borrows from first-hand imagery of her everyday life as well as films, newspapers, magazines, and television allowing herself to follow loosely associated trains of thought, often in the initial form of drawings on paper. The ensuing paintings are spontaneous but carefully considered: mixing up ideas and feelings from both external and personal worlds. Rose Wylie favours the particular, not the general; although subjects and meaning are important, the act of focused looking is even more so. Every image is rooted in a specific moment of attention, and while her work is contemporary in terms of its fragmentation and cultural references, it is perhaps more traditional in its commitment to the most fundamental aspects of picturemaking: drawing, colour, and texture. 8 TILT THE HORIZONTAL INTO A SLANT TILT THE HORIZONTAL INTO A SLANT 9 COMING UNSTUCK the power zing back and forth between the painting and us, the viewer? It’s both elegant It may come as a surprise to some, when and inelegant but never either ‘quirky’ or considering Wylie’s work that words like ‘power’ ‘goofy’. -
The Quest Motif in Snyder's the Back Country
LUCI MARÍA COLLIN LA VALLÉ* ? . • THE QUEST MOTIF IN SNYDER'S THE BACK COUNTRY Dissertação apresentada ao Curso de Pós- Graduação em Letras, Área de Concentração em Literaturas de Língua Inglesa, do Setor de Ciências Humanas, Letras e Artes da Universidade Federal ' do Paraná, para a obtenção do grau de Mestre em Letras. Orientador: Profa. Dra. Sigrid Rénaux CURITIBA 1994 f. ] there are some things we have lost, and we should try perhaps to regain them, because I am not sure that in the kind of world in which we are living and with the kind of scientific thinking we are bound to follow, we can regain these things exactly as if they had never been lost; but we can try to become aware of their existence and their importance. C. Lévi-Strauss ii ACKNOWLEDGMENTS First of all, I would like to acknowledge my American friends Eleanor and Karl Wettlaufer who encouraged my research sending me several books not available here. I am extremely grateful to my sister Mareia, who patiently arranged all the print-outs from the first version to the completion of this work. Thanks are also due to CAPES, for the scholarship which facilitated the development of my studies. Finally, acknowledgment is also given to Dr. Sigrid Rénaux, for her generous commentaries and hëlpful suggestions supervising my research. iii CONTENTS ABSTRACT vi RESUMO vi i OUTLINE OF SNYDER'S LIFE viii 1 INTRODUCTION 01 1.1 Critical Review 04 1.2 Cultural Influences on Snyder's Poetry 12 1.2.1 The Counter cultural Ethos 13 1.2.2 American Writers 20 1.2.3 The Amerindian Tradi tion 33 1.2.4 Oriental Cultures 38 1.3 Conclusion 45 2 INTO THE BACK COUNTRY 56 2.1 Far West 58 2.2 Far East 73 2 .3 Kail 84 2.4 Back 96 3 THE QUEST MOTIF IN THE BACK COUNTRY 110 3.1 The Mythical Approach 110 3.1.1 Literature and Myth 110 3 .1. -
The Empire Exhibition of 1938: the Last Durbar, Edinburgh, 1988
A COLLECTION OF WORDS IBROX WRITERS GROUP AT HOUSE FOR AN ART LOVER Exhibition open daily 14/04/17-26/4/17, 10am-4pm This exhibition marks the end of a project between the Ibrox Writers Group and House for an Art Lover which has taken place as part of our Heritage Programme. This project has taken place between January - April 2017. The writers responded to the content of the Heritage Centre which is in the former stables and dovecot buildings of Ibroxhill House and now situated at ART PARK House for an Art Lover. The Heritage Centre facility showcases the history of the local area including the 1938 Empire Exhibition, shipbuilding and much more. Each writer has responded to the content of the Heritage Centre in their own way. They were inspired through group meetings, talks and personal research. The exhibition showcases a selection of works created during the project to read and listen to and includes a publication of works. In addition to this exhibition you can join the writers for a coffee morning and readings at Ibrox Library on Friday 28/04/17, 10:30am-12pm. Grant aided by Glasgow City Heritage Trust. IBROX WRITERS Ibrox Writers Group are a creative writing group who meet on Fridays, 10am - 12pm at Ibrox Library. They write, read, support and advise, drink tea and visit inspiring places. Open to all abilities, they are always happy to welcome new members. If you are interested in joining, send a letter including your contact details to: FAO Ibrox Writers Group, Ibrox Library, 1 Midlock Street, Glasgow, G51 1SL Search Ibrox Writers to follow them on Facebook. -
SANDIA REPORT SAND91-0928 • UC-721 Unlimited Release Printed December 1991
SANDIA REPORT SAND91-0928 • UC-721 Unlimited Release Printed December 1991 Background Information Presented to the Expert Panel on Inadvertent Human Intrusion into the Waste Isolation Pilot Plant R. V. Guzowski, M. M. Gruebel, Editors W. D. Weart, S. G. Bertram-Howery, R. V. Guzowski, K. F. Brinster, P. N. Swift, S. B. Pasztor, Authors Prepared by Sandia National Laboratories Albuquerque, New Mexico 87185 and Livermore, California 94550 for the United States Department of Energy under Contract DE·AC04·76DP00789 '·(.·: ; ' Issued by Sandia National Laboratories, operated for the United States Department of Energy by Sandia Corporation. NOTICE: This report was prepared as an account of work sponsored by an agency of the United States Government. Neither the United States Govern ment nor any agency thereof, nor any of their employees, nor any of their contractors, subcontractors, or their employees, makes any warranty, express or implied, or assumes any legal liability or responsibility for the accuracy, completeness, or usefulness of any information, apparatus, product, or process disclosed, or represents that its use would not infringe privately owned rights. Reference herein to any specific commercial product, process, or service by trade name, trademark, manufacturer, or otherwise, does not necessarily constitute or imply its endorsement, recommendation, or favoring by the United States Government, any agency thereof or any of their contractors or subcontractors. The views and opinions expressed herein do not necessarily state or reflect those of the United States Government, any agency thereof or any of their contractors. Printed in the United States of America. This report has been reproduced directly from the best available copy. -
Artist of the Day 2016 F: +44 (0)20 7439 7733
PRESS RELEASE T: +44 (0)20 7439 7766 ARTIST OF THE DAY 2016 F: +44 (0)20 7439 7733 21 Cork Street 20 June - 2 July 2016 London W1S 3LZ Monday - Friday 11am - 7pm [email protected] Saturday - 11am - 6pm www.flowersgallery.com Flowers Gallery is pleased to announce the 23rd edition of Artist of the Day, a valuable platform for emerging artists since 1983. The two-week exhibition showcases the work of ten artists, nominated by prominent figures in contemporary art. The criteria for selection is talent, originality, promise and the ability to benefit from a one-day solo exhibition of their work at Flowers Gallery, Cork Street. “Every year we look forward to encountering the unknown and unpredictable. The constraint of time to install and promote an exhibition for one day only ensures there is a tangible energy in the gallery, with each day’s show incomparable to the other days. Artist of the Day has given a platform and context to artists who may not have exhibited much before, accompanied by the support and dedication of their selectors. The relationship between the selector and the artist adds an intimate power to the installations, and as a gallery we have gone on to work with many of the selected artists long term.” – Matthew Flowers Past selectors have included Patrick Caulfield, Helen Chadwick, Jake & Dinos Chapman, Tracey Emin, Gilbert & George, Maggi Hambling, Albert Irvin, Cornelia Parker, Bridget Riley and Gavin Turk; while Billy Childish, Adam Dant, Dexter Dalwood, Nicola Hicks, Claerwen James and Seba Kurtis, Untitled, 2015, Lambda C-Type print Lynette Yiadom-Boakye have featured as chosen artists. -
What's Behind This?
'It lies in our power alone• Only the victims of in In this Issue ; justice can abolish injustice• Only the oppressed can end The Kinsey Report - - p. 2 oppression. Only those who have been under shell-fire The American Way - p .4 can bring the shell factories Negroes in Britain - - p. 6 to a standstill• Why should those who profit by torture Politics and Hanging- p. 8 want to bring it to an end?** ANARCHIST FORTNIGHTLY ARNOLD ZWEIG. Vol. 9 No. 9 May 1st, 1948 Threepence THE MAT-DAY SPIRIT Working Class Unity, Freedom & Solidarity AY DAY is traditionally Labour’s Day. But, like many other traditions, the idea it enshrines M are to-day very different from those which originally inspired it. Sixty years ago, the advanced sections of the revolutionary labour movement in America, and especially the Chicago anarchists, conceived the idea of an international demonstration to take place on every succeeding May 1st. The workers in every country on that day were to down tools and make a demonstration of the unity and solidarity of their class. It was to be, in effect, a one day general strike on an international scale. The revolutionary workers at the end of the last century, of course, did not look upon such a demonstration as becoming in any way a tradition; they regarded it as a step which, if effectively carried out, would complete the revolutionary education of the workers and provide such a demon stration of working-class strength as would convince the timorous that by acting in solidarity the workers could bring to an end the era of capitalism and privilege and usher in instead the era of equality and justice— the social revolution. -
Art and Design Advanced Unit 4: A2 Externally Set Assignment
Pearson Edexcel GCE Art and Design Advanced Unit 4: A2 Externally Set Assignment Timed Examination: 12 hours Paper Reference 6AD04-6CC04 You do not need any other materials. Instructions to Teacher-Examiners Centres will receive this paper in January 2016. It will also be available on the secure content section of the Pearson Edexcel website at this time. This paper should be given to the Teacher–Examiner for confidential reference as soon as it is received in the centre in order to prepare for the externally set assignment. This paper may be released to candidates from 1 February 2016. There is no prescribed time limit for the preparatory study period. The 12-hour timed examination should be the culmination of candidates’ studies. Instructions to Candidates This paper is given to you in advance of the examination so that you can make sufficient preparation. This booklet contains the theme for the Unit 4 Externally Set Assignment for the following specifications: 9AD01 Art, Craft and Design (unendorsed) 9FA01 Fine Art 9TD01 Three-Dimensional Design 9PY01 Photography – Lens and Light-Based Media 9TE01 Textile Design 9GC01 Graphic Communication 9CC01 Critical and Contextual Studies Candidates for all endorsements are advised to read the entire paper. Turn over P46723A ©2016 Pearson Education Ltd. *P46723A* 1/1/1/1/1/1/c2 Each submission for the A2 Externally Set Assignment, whether unendorsed or endorsed, should be based on the theme given in this paper. You are advised to read through the entire paper, as helpful starting points may be found outside your chosen endorsement. If you are entered for an endorsed specification, you should produce work predominantly in your chosen discipline for the Externally Set Assignment. -
The Naked Spur: Classic Western Scores from M-G-M
FSMCD Vol. 11, No. 7 The Naked Spur: Classic Western Scores From M-G-M Supplemental Liner Notes Contents The Naked Spur 1 The Wild North 5 The Last Hunt 9 Devil’s Doorway 14 Escape From Fort Bravo 18 Liner notes ©2008 Film Score Monthly, 6311 Romaine Street, Suite 7109, Hollywood CA 90038. These notes may be printed or archived electronically for personal use only. For a complete catalog of all FSM releases, please visit: http://www.filmscoremonthly.com The Naked Spur ©1953 Turner Entertainment Co., A Warner Bros. Entertainment Company. The Wild North ©1952 Turner Entertainment Co., A Warner Bros. Entertainment Company. The Last Hunt ©1956 Turner Entertainment Co., A Warner Bros. Entertainment Company. Devil’s Doorway ©1950 Turner Entertainment Co., A Warner Bros. Entertainment Company. Escape From Fort Bravo ©1953 Turner Entertainment Co., A Warner Bros. Entertainment Company. All rights reserved. FSMCD Vol. 11, No. 7 • Classic Western Scores From M-G-M • Supplemental Liner Notes The Naked Spur Anthony Mann (1906–1967) directed films in a screenplay” and The Hollywood Reporter calling it wide variety of genres, from film noir to musical to “finely acted,” although Variety felt that it was “proba- biopic to historical epic, but today he is most often ac- bly too raw and brutal for some theatergoers.” William claimed for the “psychological” westerns he made with Mellor’s Technicolor cinematography of the scenic Col- star James Stewart, including Winchester ’73 (1950), orado locations received particular praise, although Bend of the River (1952), The Far Country (1954) and The several critics commented on the anachronistic appear- Man From Laramie (1955). -
Gary Snyder's Eco-Buddhist Deconstruction of "Self" and "Nature"
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2002 Emptiness of "The Wild"| Gary Snyder's eco-Buddhist deconstruction of "self" and "nature" David J. Kerber The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Kerber, David J., "Emptiness of "The Wild"| Gary Snyder's eco-Buddhist deconstruction of "self" and "nature"" (2002). Graduate Student Theses, Dissertations, & Professional Papers. 2217. https://scholarworks.umt.edu/etd/2217 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. î ■i Maureen and Mike MANSFIELD LIBRARY The University of JVIONTANA Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. * * Please check "Yes" or "No" and provide signature * * Yes, I grant permission _____ No, I do not grant permission _____ Author's Signature Date Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. THE EMPTINESS OF “THE WILD”: GARY SNYDER’S ECO-BUDDHIST DECONSTRUCTION OF “SELF” AND “NATURE” By David J. Kerber B.S. Willamette University, 1999 presented in partial fulfillment of the requirements for the degree of Master of Arts The University of Montana May 2002 Approved by: irperson: Dean, Graduate School: S - ZZ-02.____ Date UMI Number: EP35489 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
INTRODUCTION: BLUE NOTES TOWARD a NEW JAZZ DISCOURSE I. Authority and Authenticity in Jazz Historiography Most Books and Article
INTRODUCTION: BLUE NOTES TOWARD A NEW JAZZ DISCOURSE MARK OSTEEN, LOYOLA COLLEGE I. Authority and Authenticity in Jazz Historiography Most books and articles with "jazz" in the title are not simply about music. Instead, their authors generally use jazz music to investigate or promulgate ideas about politics or race (e.g., that jazz exemplifies democratic or American values,* or that jazz epitomizes the history of twentieth-century African Americans); to illustrate a philosophy of art (either a Modernist one or a Romantic one); or to celebrate the music as an expression of broader human traits such as conversa- tion, flexibility, and hybridity (here "improvisation" is generally the touchstone). These explorations of the broader cultural meanings of jazz constitute what is being touted as the New Jazz Studies. This proliferation of the meanings of "jazz" is not a bad thing, and in any case it is probably inevitable, for jazz has been employed as an emblem of every- thing but mere music almost since its inception. As Lawrence Levine demon- strates, in its formative years jazz—with its vitality, its sexual charge, its use of new technologies of reproduction, its sheer noisiness—was for many Americans a symbol of modernity itself (433). It was scandalous, lowdown, classless, obscene, but it was also joyous, irrepressible, and unpretentious. The music was a battlefield on which the forces seeking to preserve European high culture met the upstarts of popular culture who celebrated innovation, speed, and novelty. It 'Crouch writes: "the demands on and respect for the individual in the jazz band put democracy into aesthetic action" (161). -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.