Erscheinungsdatum: 12/2013Medium: TaschenbuchEinband: Kartoniert / BroschiertTitel: Image - Object - PerformanceTitelzusatz: Mediality and Communication in Cultural Contact Zones of Colonial Latin America and the PhilippinesRedaktion: Windus, Astrid
From Astaire to Steinbeck, this timely and long-awaited history of the 1930s sets the creative energies of the Great Depression against a backdrop of poverty and economic disaster. Gathering a staggering range of materials - from images of rural poverty to zany screwball comedies, wildly popular swing band music and streamlined art deco designs - this eloquent work highlights the pivotal role of culture and government intervention in hard times. Exploding the myth that Depression culture was merely escapist, it concentrates on the dynamic energy and insight the arts could provide and the enormous lift they gave to the American nation´s morale. Dancing in the Dark shows how America´s worst economic crisis, as it eroded individualism and punctured the American dream, produced some of the country´s greatest writing, photography and mass entertainment.
(2012/VALCOUR) 16 tracks (62:24) papersleeve. Hervorragende Werkschau des kleinen aber feinen Louisiana Labels. - Since 2006 Valcour Records has emerged as one of the essential sources for Acadian musical culture. In 2006, Valcour co-founders recognized that there was a remarkable wealth of talent in the Lafayette area that was under-represented and under-exposed. That was when Joel called Lucius and Phillip and said ´´Let’s do something about this.” Six years, 17 releases and four GRAMMY nominations later, the Valcour catalogue is one of the best, most authentic and most successful representations of the thriving Acadiana music scene. 2011 was a big year for Valcour Records, as we upgraded our image, solidified two new international distribution partnerships and formed new alliances with other movers and shakers in the Louisiana cultural and entertainment worlds. Looking ahead, Valcour will soon be expanding our artist-base beyond the Acadiana and even Louisiana borders, while continuing our mission of showcasing great Louisiana talent and roots music on a world stage. This album is a way of paying homage to the incredible artists with whom we have had the honor of working in our first few years. While we unfortunately could not include everyone on this CD, we feel this is a pretty amazing collection of recordings—one that truly represents the core sound of the Acadiana music scene over the past half-decade. We owe a debt of gratitude to all of the musicians that have worked with us along the way and to all of the loyal fans who have supported this great music through these years. Enjoy the tunes and let’s keep it going! This CD was created through a partnership with Bayou Teche Brewing Company and is designed to accompany their seasonal Mardi Gras beer: Courir de Mardi Gras. As you might expect, this CD makes a great sound track for any Mardi Gras celebration, just as the beer makes for a great beverage!
(2005/Sony-BMG DK) 16 tracks Disc pressed by Sony DADC, Austria. The Danish music chain ´´TP Musik´´ released a new Elvis compilation together with Sony / BMG Denmark. The CD contains songs from the 50´s and 60´s. CD comes with a 4 pages booklet with liner notes by Daryl Easlea. Same tracks as on the CDs Same tracks also on the CDs ´´Classic Elvis´´, ´´Seleção Essencial - Grandes Sucessos´´, ´´Elvis Presley (Blue Suede Shoes)´´, ´´L´essential Elvis Presley´´ & ´´Les Indispensables´´, ´´Wurlitzer Jukebox Highlights Vol.3 - Classic Elvis´´ 82876748022 It is impossible to overstate the importance of Elvis Presley; the Tupelo Flash; Elvis the Pelvis; The King Of Rock and Roll. From 1954 to 1977. Presley lived his life in public. through recordings. films and endless con-cert appearances. singing his way into the lives of millions. Without Elvis. no Beatles; no pop as we know it today; that may sound like hyper-bole, but it´s true - cultural life would be utterly different had not the young truck dri-ver stumbled into Sam Phillips´ Sun Studios in Memphis in 1954. Presley was one of the very first pop stars to re-present the sounds he grew up enjoying. The fact it was pre-dominantly black music at a racially sensi-tive time in America was of little conse-quence to him. It was music, pure and sim-ple. Presley´s biography is so well known, it has almost become like a oft-told fairy tale and can be reduced to a newspaper headline POOR SOUTHERN WHITE BOY BECOMES POP´S MOST RECOGNISABLE STAR. His 23-year career can be divided thus — Rock´n´Roll Hero/ army boy/ MOR film star/ Live sensation. Throughout, even in his most dire, wafer-thin Hollywood production. Presley never lost sight of what he truly loved; the music. When you´re talking about the phenomenon of Presley, there is one irrefutable fact that must be accepted. Quite simply, there is no bigger. brighter or more enduring star in the galaxy of popular music and there may well never be another artist to rival him for sheer unparalleled iconic status. Presley wasn´t called the King for nothing — and no other performer reigns as durably. His death in 1977 saw mass mourning, but today his presence has never been stronger, and the sheer volume of his work has meant that different eras of his career have come up at different times for appraisal. It began towards the end of his life with his Sun sessions being gathered together at a time when rock began to look backwards. Then it was the turn of the 1968-69 ´come-back´ years, and finally, even his Vegas years; at the time seen as some form of career nadir. have been reappraised. The accolades bestowed on him by the great and the good clearly state his magnificence: Bono has said, ´´I believe Elvis was a genius . . . He had the wisdom that makes wise men look foolish.´´ while James Brown said that ´´Presley taught white America to get down,´´ and Bruce Springsteen has rightly pointed out that ´´there is only one King.´´ These 16 early sides sound as vital, as incendiary, as ever; the primitive fusion of country and blues that was That´s All Right; the ever-beguiling Mystery Train; the exu-berance of his era-defining cover of Carl Perkins´ Blue Suede Shoes. Even later, lighter truffles such as Return To Sender have that stamp of Kingly authority. Cultural historian Jules Absalom noted in 2002 that ´´the story of Elvis Presley is far from over. His image is constantly under revision and his life is being reinterpreted for today´s audience.´´ Listen to the music here. You´ll quickly understand why. Daryl Easlea
Almost overnight railway lines sprawled across the United States, quickly assuming a key role in America´s rapid growth and development. Linking these lines that crisscrossed the map were the stations themselves, the very centerpieces--physical and metaphorical--of civic and cultural life in America. They were backdrops to commonplace comings and goings as well as public lecturers and evangelists, rallies and wartime troop movement; outposts of Western settlement; staging grounds for presidential whistle-stop tours; and destinations for a new class of tourists that arose at the turn of the twentieth century. Reflecting a vast range of shapes, styles, and sizes, their architectural diversity defined them nearly as much as their hallowed place in American history.Organized by region, Railroad Stations: The Buildings That Link the Nation captures all their expressions, from modest to glorious. Here are rugged Western depots, ghost-town stations in the Plains, an art deco masterpiece in Ohio, and grand urban landmarks. Also showcased are related features such as waiting rooms and concourses, some with lavish displays of artwork; elegant details including cornices, cupolas, campaniles, and clock towers; adjacent train sheds and hotels; carriage shops and roadhouses; baggage carts; and much, much more. In over 600 striking archival plans, drawings, maps, and images--many from panoramic and aerial perspectives, and taken by such noted photographers as Jack Boucher, Jack Delano, and Jet Lowe--the stories of railroad stations big and small are charted, a visual feast of images chronicling the history and stylistic character of one of our nation´s most iconic building types. An online portfolio showcasing all the images is available for browsing and downloading. The portfolio also offers a direct link to the Library of Congress´s online, searchable catalogs and image files.
As period, as style, as sensibility, the Baroque remains elusive, its definition subject to dispute. Perhaps this is so in part because baroque vision resists separation of mind and body, form and matter, line and color, image and discourse. In Quoting Caravaggio, Mieke Bal deploys this insight of entanglement as a form of art analysis, exploring its consequences for both contemporary and historical art, as well as for current conceptions of history. Mieke Bal´s primary object of investigation in Quoting Caravaggio is not the great 17th-century painter, but rather the issue of temporality in art. In order to retheorize linear notions of influence in cultural production, Bal analyzes the productive relationship between Caravaggio and a number of late-20th-century artists who quote the baroque master in their own works. These artists include Andres Serrano, Carrie Mae Weems, Ken Aptekar, David Reed, and Ana Mendieta, among others. Each chapter of Quoting Caravaggio shows particular ways in which quotation is vital to the new art but also to the source from which it is derived. Through such dialogue between present and past, Bal argues for a notion of preposterous history where works that appear chronologically first operate as an aftereffect caused by the images of subsequent artists. Quoting Caravaggio is at once a meditation on history as creative, nonlinear process; a study of the work of Caravaggio and the Baroque; and, a critical exposition of contemporary artistic representation and practice.
English, Hardbound/Gebunden mit Schutzumschlag, 22.5x28 cm, 608 Seiten/pages, 2.8 kg ! über 600 Fotos aus den Graceland Archiven mit kurzen Kommentaren - Ein Monster Elvis is the greatest cultural force in the 20th century. He introduced the beat to everything, music, language, clothes, it´s a whole new social revolution´´ - Leonard Bernstein OK, so that was going too far. The man who conducted the New York Philharmonic and composed the music for West Side Story should have known better. Elvis simply didn´t ´introduce the beat to everything: but he was the first to acknowledge the roots of his music in blues, gospel, country, and all the other rhythmically based popular music that America had created through the first half of the 20th century. Likewise, the jive-talk language and sharp clothes that were adopted by Elvis and other early rock´n´rollers - and soon taken up by the newly identified generation of ´´teenagers´´ - weren´t invented overnight, but had their basis in the be-bop slang and zoot-suit fashions of big city jazz musicians in the 1940s. Having said that, Bernstein was right about Elvis being an incalculable cultural force. It´s hard now to appreciate the total impact Elvis had on what we loosely call popular culture, that melting pot of music, art, literature, attitudes, and manners that found its most vital catalyst and instigator for change in the America of the last century. And, like Louis Armstrong, Jackson Pollock, Scott Fitzgerald, cowboy films and boogie woogie, Elvis and his music were uniquely American; it just wouldn´t have happened, couldn´t have happened, anywhere else. In that media-driven century that has so recently come to a close, the century of the photograph, motion pictures, and television as well as records and radio, image was all important. The visual record of people and events that burned onto the mass consciousness was more potent than newsprint, more memorable even than the intimate voices of radio pioneers who gave us history as it happened over the airwaves. When his music exploded on an unsuspecting world in the early weeks of 1956, the first impression most people got of Elvis Presley, other than the almost hypnotic atmosphere of ´´Heartbreak Hotel´´, were the black-and-white photographs of the ´´Hillbilly Cat´´ in action. And in many ways the still camera, creating innumerable images frozen for all time, was the medium that defined Elvis as icon throughout the rest of his life. From the image that for millions was the first glimpse of Elvis, mouth open, legs apart it was clear that here was something different. Was he playing that guitar, or making love to it? Those trousers looked like they were going to split at any moment! Was he singing, or shouting? Was this a musical performance or some act of defiant celebration? Actually it was both — when that picture swiftly found its way around the world, the lines were drawn. Things were never going to be the same again. The early television appearances, beamed coast to coast across a stunned-into-silence America, certainly upset a lot of adult folk, and got the youngters on their toes, but these were mere flickering box-in-the-corner images compared to the real thing. Curiously, the combination of the records themselves and an increasing flood of photographs was far more potent propaganda for the rock´n´roll revolution. RCA Records soon caught on to this. Every new signing to the label would have the obligatory picture session for publicity purposes, but from the start they sensed that this kid from Tennessee looked different. The first time he hit their studios in New York City, there was a photoshoot that revealed the strange beauty of the guy, looking into that big black microphone like a million females would want him to look at them. From Arkansas to Australia. bedroom walls were soon covered with that look. Wallpaper manufacturers, along with big band crooners, righteous preachers, teachers, and parents, held up their hands in horror. Compared to TV, still in its infancy, the films were a different matter. Here was a chance for the mass of people, in and outside the US, to see him move for the first time. But his first film, Love Me Tender, was in truth something of an anti-climax as far as seeing the real Elvis was concerned. He played his part convincingly, and brought tears to the eyes of fans when he died at the end, but it was a never-ending chronicle of photographs that recorded the phenomenon that was