|
Showing 1 - 7 of
7 matches in All Departments
If given another chance to write for the series, which albums would
33 1/3 authors focus on the second time around? This anthology
features compact essays from past 33 1/3 authors on albums that
consume them, but about which they did not write. It explores often
overlooked and underrated albums that may not have inspired their
33 1/3 books, but have played a large part in their own musical
cultivation. Questions central to the essays include: How has this
album influenced your worldview? How does this album intersect with
your other creative and critical pursuits? How does this album
index a particular moment in cultural history? In your own personal
history? Why is the album perhaps under-the-radar, or a buried
treasure? Why can't you stop listening to it? Bringing together 33
1/3's rich array of writers, critics, and scholars, this collection
probes our taste in albums, our longing for certain tunes, and our
desire to hit repeat--all while creating an expansive "must-listen"
list for readers in search of unexplored musical territories.
Named the #1 Bestselling Non-Fiction Title by the Calgary Herald To
camp means to occupy a place and/or time provisionally or under
special circumstances. To camp can also mean to queer. And for many
children and young adults, summer camp is a formative experience
mixed with homosocial structure and homoerotic longing. In Queer as
Camp, editors Kenneth B. Kidd and Derritt Mason curate a collection
of essays and critical memoirs exploring the intersections of
"queer" and "camp," focusing especially on camp as an alternative
and potentially nonnormative place and/or time. Exploring questions
of identity, desire, and social formation, Queer as Camp delves
into the diverse and queer-enabling dimensions of particular
camp/sites, from traditional iterations of camp to camp-like
ventures, literary and filmic texts about camp across a range of
genres (fantasy, horror, realistic fiction, graphic novels), as
well as the notorious appropriation of Indigenous life and the
consequences of "playing Indian." These accessible, engaging essays
examine, variously, camp as a queer place and/or the experiences of
queers at camp, including Vermont's Indian Brook, a single-sex
girls' camp that has struggled with the inclusion of nonbinary and
transgender campers and staff; the role of Jewish summer camp as a
complicated site of sexuality, social bonding, and citizen-making
as well as a potentially if not routinely queer-affirming place.
They also attend to cinematic and literary representations of camp,
such as the Eisner award-winning comic series Lumberjanes, which
revitalizes and revises the century-old Girl Scout story; Disney's
Paul Bunyan, a short film that plays up male homosociality and
cross-species bonding while inviting queer identification in the
process; Sleepaway Camp, a horror film that exposes and
deconstructs anxieties about the gendered body; and Wes Anderson's
critically acclaimed Moonrise Kingdom, which evokes dreams of
escape, transformation, and other ways of being in the world.
Highly interdisciplinary in scope, Queer as Camp reflects on camp
and Camp with candor, insight, and often humor. Contributors: Kyle
Eveleth, D. Gilson, Charlie Hailey, Ana M. Jimenez-Moreno, Kathryn
R. Kent, Mark Lipton, Kerry Mallan, Chris McGee, Roderick McGillis,
Tammy Mielke, Alexis Mitchell, Flavia Musinsky, Daniel Mallory
Ortberg, Annebella Pollen, Andrew J. Trevarrow, Paul Venzo, Joshua
Whitehead
Late in the Reagan years, three young men at Jerry Falwell's
Liberty University formed the Christian rap group dc Talk. The trio
put out a series of records that quickly secured their place at the
forefront of contemporary Christian music. But, with their fourth
studio album Jesus Freak (1995), dc Talk staked a powerful claim on
the worldly market of alternative music, becoming an evangelical
group with secular selling power. This book sets out to study this
mid-90s crossover phenomenon-a moment of cultural convergence
between Christian and secular music and an era of particular
political importance for American evangelicalism. Written by two
queer scholars with evangelical pasts, Jesus Freak explores the
importance of a multifarious album with complex ideas about race,
sexuality, gender, and politics-an album where dc Talk wonders,
"What will people do when they hear that I'm a Jesus freak?" and
evangelical fans stake a claim for Christ-like coolness in a
secular musical world.
Named the #1 Bestselling Non-Fiction Title by the Calgary Herald To
camp means to occupy a place and/or time provisionally or under
special circumstances. To camp can also mean to queer. And for many
children and young adults, summer camp is a formative experience
mixed with homosocial structure and homoerotic longing. In Queer as
Camp, editors Kenneth B. Kidd and Derritt Mason curate a collection
of essays and critical memoirs exploring the intersections of
"queer" and "camp," focusing especially on camp as an alternative
and potentially nonnormative place and/or time. Exploring questions
of identity, desire, and social formation, Queer as Camp delves
into the diverse and queer-enabling dimensions of particular
camp/sites, from traditional iterations of camp to camp-like
ventures, literary and filmic texts about camp across a range of
genres (fantasy, horror, realistic fiction, graphic novels), as
well as the notorious appropriation of Indigenous life and the
consequences of "playing Indian." These accessible, engaging essays
examine, variously, camp as a queer place and/or the experiences of
queers at camp, including Vermont's Indian Brook, a single-sex
girls' camp that has struggled with the inclusion of nonbinary and
transgender campers and staff; the role of Jewish summer camp as a
complicated site of sexuality, social bonding, and citizen-making
as well as a potentially if not routinely queer-affirming place.
They also attend to cinematic and literary representations of camp,
such as the Eisner award-winning comic series Lumberjanes, which
revitalizes and revises the century-old Girl Scout story; Disney's
Paul Bunyan, a short film that plays up male homosociality and
cross-species bonding while inviting queer identification in the
process; Sleepaway Camp, a horror film that exposes and
deconstructs anxieties about the gendered body; and Wes Anderson's
critically acclaimed Moonrise Kingdom, which evokes dreams of
escape, transformation, and other ways of being in the world.
Highly interdisciplinary in scope, Queer as Camp reflects on camp
and Camp with candor, insight, and often humor. Contributors: Kyle
Eveleth, D. Gilson, Charlie Hailey, Ana M. Jimenez-Moreno, Kathryn
R. Kent, Mark Lipton, Kerry Mallan, Chris McGee, Roderick McGillis,
Tammy Mielke, Alexis Mitchell, Flavia Musinsky, Daniel Mallory
Ortberg, Annebella Pollen, Andrew J. Trevarrow, Paul Venzo, Joshua
Whitehead
If given another chance to write for the series, which albums would
33 1/3 authors focus on the second time around? This anthology
features compact essays from past 33 1/3 authors on albums that
consume them, but about which they did not write. It explores often
overlooked and underrated albums that may not have inspired their
33 1/3 books, but have played a large part in their own musical
cultivation. Questions central to the essays include: How has this
album influenced your worldview? How does this album intersect with
your other creative and critical pursuits? How does this album
index a particular moment in cultural history? In your own personal
history? Why is the album perhaps under-the-radar, or a buried
treasure? Why can't you stop listening to it? Bringing together 33
1/3's rich array of writers, critics, and scholars, this collection
probes our taste in albums, our longing for certain tunes, and our
desire to hit repeat--all while creating an expansive "must-listen"
list for readers in search of unexplored musical territories.
|
Crush (Paperback)
D. Gilson, Will Stockton
|
R446
Discovery Miles 4 460
|
Ships in 10 - 15 working days
|
The devotional, unrelenting, deviant Crush is a linguistic feast:
the word is everything in Stockton's and Gilson's world, except
when it isn't, except when it's time we shoved // our jeans down
and stepped / into the world. This is a sensual - perhaps a better
word is bodily - collection, the scent of shit and frowsy hats and
bleach and the boy who always smelled / like cat litter adding some
much-needed filth to poetic longing - for what is longing, frankly,
without the cleanup after? There are texts and subtexts and
Facebook-stalks; there are at times startlingly tender moments, as
in the poems about a brother's suicide and an uncle's AIDS-related
decline. I'm thinking of what any of us / can tolerate, the poets
write in Fall, Then Falling. I feel as if I need a shower after
reading Crush; I can think of no higher praise. Randall Mann,
author of Breakfast With Thom Gunn and Straight Razor The louche
candor of Crush, like Calamus before it, makes a ravishing case for
poetry as queer theory. Smitingly smart, smartingly sexy, frank as
nerve endings, and swoony as the first warm nights of Spring: these
poems are as vividly compelling an account of erotic multiplicity
as any I know. Michael Snediker, author of The Apartment of Tragic
Appliances In Crush, a stunning collection of erotic poems and
queer meditations delineating Stockton' and Gilson's mutual
crushing on each other, but also all of the ways in which, sweetly
and also sadly, affection ameliorates the anguishes that, despite
our deepest devotions, are never constant, Stockton and Gilson
write, In Aranye Fradenburg's words, Shakespeare's sonnets describe
the love you feel for inappropriate objects: for someone thirty
years older, thirty years younger. The kind of love that makes a
fool, a pervert, a stalker out of you. Let's start here, for much
of this description applies to Petrarchan conventions as well.
Let's start here, with this affective entrance into the poems and
the impossibility of dispossessing the other's voice in the
manufacture of one's own machine. Let's start here, with a vision
of poems as indexes of crushes rendered inappropriate, unhealthy by
some gradation of difference and level of intensity. With the
question of what distinguishes a crush from love if both turn you
into a different self. Under oak trees and sunlight, in coffee
shops and locker rooms, steam rooms and seminar rooms, and in
conversation with Milton, Shakespeare, Frank O'Hara, Narcissus,
Allen Ginsberg, Jacques Derrida, Aranye Fradenburg, Mary Magdalene,
Freud, Oscar Wilde, Jose Esteban Munoz, Eve Kosofsky Sedgwick,
Elton John, and Prince, among other poets, harlots, saints, and
scholars, Stockton and Gilson explore the ways in which friendship,
desire, falling, swerving, possession, holding, faggoting, falling,
longing, poeming, and crushing open the self to queerly utopic, if
also difficult, deflections - other, more improbable modes of
being, as Foucault might have said.
|
You may like...
American Gangster
Denzel Washington, Russell Crowe, …
Blu-ray disc
R192
Discovery Miles 1 920
Personal Shopper
Kristen Stewart, Nora von Waldstätten, …
DVD
R83
Discovery Miles 830
|