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As the 1970s gave way to the 80s, New York's party scene entered a
ferociously inventive period characterized by its creativity,
intensity, and hybridity. Life and Death on the New York Dance
Floor chronicles this tumultuous time, charting the sonic and
social eruptions that took place in the city's subterranean party
venues as well as the way they cultivated breakthrough movements in
art, performance, video, and film. Interviewing DJs, party hosts,
producers, musicians, artists, and dancers, Tim Lawrence
illustrates how the relatively discrete post-disco, post-punk, and
hip hop scenes became marked by their level of plurality,
interaction, and convergence. He also explains how the shifting
urban landscape of New York supported the cultural renaissance
before gentrification, Reaganomics, corporate intrusion, and the
spread of AIDS brought this gritty and protean time and place in
American culture to a troubled denouement.
Opening with David Mancuso's seminal "Love Saves the Day"
Valentine's party, Tim Lawrence tells the definitive story of
American dance music culture in the 1970s-from its subterranean
roots in NoHo and Hell's Kitchen to its gaudy blossoming in midtown
Manhattan to its wildfire transmission through America's suburbs
and urban hotspots such as Chicago, Boston, San Francisco, Los
Angeles, Newark, and Miami. Tales of nocturnal journeys, radical
music making, and polymorphous sexuality flow through the arteries
of Love Saves the Day like hot liquid vinyl. They are interspersed
with a detailed examination of the era's most powerful djs, the
venues in which they played, and the records they loved to spin-as
well as the labels, musicians, vocalists, producers, remixers,
party promoters, journalists, and dance crowds that fueled dance
music's tireless engine. Love Saves the Day includes material from
over three hundred original interviews with the scene's most
influential players, including David Mancuso, Nicky Siano, Tom
Moulton, Loleatta Holloway, Giorgio Moroder, Francis Grasso,
Frankie Knuckles, and Earl Young. It incorporates more than twenty
special dj discographies-listing the favorite records of the most
important spinners of the disco decade-and a more general
discography cataloging some six hundred releases. Love Saves the
Day also contains a unique collection of more than seventy rare
photos.
This book considers how Samuel Beckett's critical essays, dialogues
and reflections drew together longstanding philosophical discourses
about the nature of representation, and fostered crucial, yet
overlooked, connections between these discourses and his fiction
and poetry. It also pays attention to Beckett's writing for
little-magazines in France from the 1930s to the 1950s, before
going on to consider how the style of Beckett's late prose recalls
and develops figures and themes in his critical writing. By
providing a long-overdue assessment of Beckett's work as a critic,
this study shows how Beckett developed a new aesthetic in knowing
dialogue with ideas including phenomenology, Kandinsky's theories
of abstraction, and avant-garde movements such as Surrealism. This
book will be illuminating for students and researchers interested
not just in Beckett, but in literary modernism, the avant-garde,
European visual culture and philosophy.
This book considers how Samuel Beckett's critical essays, dialogues
and reflections drew together longstanding philosophical discourses
about the nature of representation, and fostered crucial, yet
overlooked, connections between these discourses and his fiction
and poetry. It also pays attention to Beckett's writing for
little-magazines in France from the 1930s to the 1950s, before
going on to consider how the style of Beckett's late prose recalls
and develops figures and themes in his critical writing. By
providing a long-overdue assessment of Beckett's work as a critic,
this study shows how Beckett developed a new aesthetic in knowing
dialogue with ideas including phenomenology, Kandinsky's theories
of abstraction, and avant-garde movements such as Surrealism. This
book will be illuminating for students and researchers interested
not just in Beckett, but in literary modernism, the avant-garde,
European visual culture and philosophy.
"Hold On to Your Dreams "is the first biography of the musician and
composer Arthur Russell, one of the most important but least known
contributors to New York's downtown music scene during the 1970s
and 1980s. With the exception of a few dance recordings, including
"Is It All Over My Face?" and "Go Bang #5," Russell's pioneering
music was largely forgotten until 2004, when the posthumous release
of two albums brought new attention to the artist. This revival of
interest gained momentum with the issue of additional albums and
the documentary film "Wild Combination." Based on interviews with
more than seventy of his collaborators, family members, and
friends, "Hold On to Your Dreams" provides vital new information
about this singular, eccentric musician and his role in the
boundary-breaking downtown music scene.
Tim Lawrence traces Russell's odyssey from his hometown of
Oskaloosa, Iowa, to countercultural San Francisco, and eventually
to New York, where he lived from 1973 until his death from
AIDS-related complications in 1992. Resisting definition while
dreaming of commercial success, Russell wrote and performed new
wave and disco as well as quirky rock, twisted folk, voice-cello
dub, and hip-hop-inflected pop. "He was way ahead of other people
in understanding that the walls between concert music and popular
music and avant-garde music were illusory," comments the composer
Philip Glass. "He lived in a world in which those walls weren't
there." Lawrence follows Russell across musical genres and through
such vital downtown music spaces as the Kitchen, the Loft, the
Gallery, the Paradise Garage, and the Experimental Intermedia
Foundation. Along the way, he captures Russell's openness to sound,
his commitment to collaboration, and his uncompromising
idealism.
As the 1970s gave way to the 80s, New York's party scene entered a
ferociously inventive period characterized by its creativity,
intensity, and hybridity. Life and Death on the New York Dance
Floor chronicles this tumultuous time, charting the sonic and
social eruptions that took place in the city's subterranean party
venues as well as the way they cultivated breakthrough movements in
art, performance, video, and film. Interviewing DJs, party hosts,
producers, musicians, artists, and dancers, Tim Lawrence
illustrates how the relatively discrete post-disco, post-punk, and
hip hop scenes became marked by their level of plurality,
interaction, and convergence. He also explains how the shifting
urban landscape of New York supported the cultural renaissance
before gentrification, Reaganomics, corporate intrusion, and the
spread of AIDS brought this gritty and protean time and place in
American culture to a troubled denouement.
"Hold On to Your Dreams "is the first biography of the musician and
composer Arthur Russell, one of the most important but least known
contributors to New York's downtown music scene during the 1970s
and 1980s. With the exception of a few dance recordings, including
"Is It All Over My Face?" and "Go Bang #5," Russell's pioneering
music was largely forgotten until 2004, when the posthumous release
of two albums brought new attention to the artist. This revival of
interest gained momentum with the issue of additional albums and
the documentary film "Wild Combination." Based on interviews with
more than seventy of his collaborators, family members, and
friends, "Hold On to Your Dreams" provides vital new information
about this singular, eccentric musician and his role in the
boundary-breaking downtown music scene.
Tim Lawrence traces Russell's odyssey from his hometown of
Oskaloosa, Iowa, to countercultural San Francisco, and eventually
to New York, where he lived from 1973 until his death from
AIDS-related complications in 1992. Resisting definition while
dreaming of commercial success, Russell wrote and performed new
wave and disco as well as quirky rock, twisted folk, voice-cello
dub, and hip-hop-inflected pop. "He was way ahead of other people
in understanding that the walls between concert music and popular
music and avant-garde music were illusory," comments the composer
Philip Glass. "He lived in a world in which those walls weren't
there." Lawrence follows Russell across musical genres and through
such vital downtown music spaces as the Kitchen, the Loft, the
Gallery, the Paradise Garage, and the Experimental Intermedia
Foundation. Along the way, he captures Russell's openness to sound,
his commitment to collaboration, and his uncompromising
idealism.
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