Я жил в такие времена - Various - Песня служит на границе (Vinyl, LP)

Rogers made his recorded debut as a leader in for the tiny Ora-Nelle logo, then saw his efforts for Regal and Apollo lay unissued. Those labels' monumental errors in judgment were the gain of Leonard Chess, who recognized the comparatively smooth-voiced Rogers's potential as a blues star in his own right.

He first played with Muddy Waters on an Aristocrat 78 in and remained his indispensable rhythm guitarist on wax into Rogers's artistic quality was remarkably high while at Chess. Byblues was losing favor at Chess, the label reaping the rewards of rock via Chuck Berry and Bo Diddley.

Rogers virtually retired from music for a time during the s, operating a West side clothing shop that burned down in the aftermath of Dr. Martin Luther King's tragic assassination. There were a few more fine albums — notably Ludella, a set for Antone's — but Rogers never fattened his discography nearly as much as some of his contemporaries have. Jimmy's son, Jimmy D. Lane, played rhythm guitar in his dad's band and fronts a combo of his own on the side. Rogers died December 19, He was viewed in the '60s as perhaps the most articulate and disturbing member of the free generation, a published playwright willing to speak on the record in unsparing, explicit fashion about social injustice and the anger and rage he felt.

His tenor sax solos were searing, harsh, and unrelenting, played with a vivid intensity. Shepp studied dramatic literature at Goddard College, earning his degree in But Shepp switched to tenor, playing in several free jazz bands. Shepp's releases sought to paint an aural picture of African-American life, and included compositions based on incidents like Attica or folk sayings. But starting in the late '60s, the rhetoric was toned down and the anger began to disappear from Shepp's albums.

He substituted a more celebratory, and at times reflective attitude. He was named an associate professor there in Unfortunately his tone declined from the mid-'80s on his highly original sound was his most important contribution to jazzand Shepp became a less significant figure in the s than one might have hoped.

Early in her career she had the tendency to screech in her upper register, but with maturity that flaw has largely disappeared and she has become a very impressive singer.

She had her first gig at a Holiday Inn when just ten and originally sang country music. After Getz featured her singing at a televised concert from the White House inSchuur was signed to GRP and began recording regularly. Although her collaboration with the Count Basie Orchestra was a high point, Diane Schuur's recordings tend to be a mixed success from the jazz standpoint.

Biography by Richie Unterberger Of all the major singers of the late 20th century, Nina Simone was one of the hardest to classify. She recorded extensively in the soul, jazz, and pop idioms, often over the course of the same album; she was also comfortable with blues, gospel, and Broadway. Like, say, Aretha Franklin, or Dusty Springfield, Simone was an eclectic who brought soulful qualities to whatever material she interpreted.

These qualities were among her strongest virtues; paradoxically, they also may have kept her from attaining a truly mass audience. The same could be said of her stage persona; admired for her forthright honesty and individualism, she was also known for feisty feuding with audiences and promoters alike. If Simone had a chip on her shoulder, it probably arose from the formidable obstacles she had to overcome to establish herself as a popular singer.

Raised in a family of eight children, she originally harbored hopes of becoming a classical pianist, studying at New York's prestigious Juilliard School of Music — a rare position for an African-American woman in the s. Auditioning for a job as a pianist in an Atlantic City nightclub, she was told she had the spot if she would sing as well as play. Almost by accident, she began to carve a reputation as a singer of secular material, though her skills at the piano would serve her well throughout her career.

In the early '60s, she recorded no less than nine albums for the Candix label, about half of them live. These unveiled her as a performer of nearly unsurpassed eclecticism, encompassing everything from Ellingtonian jazz and Israeli folk songs to spirituals and movie themes.

Simone's best recorded work was issued on Philips during the mid-'60s. Here, as on Candix, she was arguably over-exposed, issuing seven albums within a three-year period. These records can be breathtakingly erratic, moving from warm ballad interpretations of Jacques Brel and Billie Holiday and instrumental piano workouts to brassy pop and angry political statements in a heartbeat.

There's a great deal of fine music to be found on these, however. Simone's moodyyet-elegant vocals were like no one else's, presenting a fiercely independent soul who harbored enormous if somewhat hard-bitten tenderness. Some though by no means most of her best material from this time addressed these concerns in a fashion more forthright than almost any other singer. Not that this repertoire Я жил в такие времена - Various - Песня служит на границе (Vinyl well-chosen.

These explored a less eclectic range, with a considerably heavier pop-soul base to both the material and arrangements. Inher record A Single Woman marked her return to an American major label, and her profile was also boosted when several of her songs were featured in the film Point of No Return.

She published her biography, I Put a Spell on You, inbut grew increasingly frail throughout the late '90s and had to be helped on to the stage during a Carnegie Hall performance. Nina Simone died on April 21, at her home in Carry-le-Rouet, France, where she had been spending much of her retirement.

Montreux ' Art of the Jam Biography by Ron Wynn and Bob Porter Charlie Parker has had many admirers and his influence can be detected in numerous styles, but few have been as avid a disciple as Sonny Sitt.

Stitt gradually developed his own sound and style, though he was never far from Parker on any alto solo. A wonderful blues and ballad player whose approach influenced John Coltrane, Stitt could rip through an up-tempo bebop stanza, then turn around and play a shivering, captivating ballad.

He was an alto saxophonist in Tiny Bradshaw's band during the early '40s, then joined Billy Eckstine's seminal big band inplaying alongside other emerging bebop stars like Gene Ammons and Dexter Gordon.

Stitt later played in Dizzy Gillespie's big band and sextet. He began on tenor and baritone inand at times was in a two-tenor unit with Ammons. He recorded with Bud Powell and J. Johnson for Prestige inthen did several albums on Prestige, Argo, and Verve in the '50s and '60s.

Stitt led many combos in the '50s, and re-joined Gillespie for a short period in the late '50s. After a brief stint with Miles Davis inhe reunited with Ammons and for a while was in a threetenor lineup with James Moody. During the '60s, Stitt also recorded for Atlantic, cutting the transcendent Stitt Plays Bird, which finally addressed the Parker question in epic fashion.

He continued heading bands, though he joined the Giants of Jazz in the early '70s. Stitt did more sessions in the '70s for Cobblestone, Muse, and others, among them another definitive date, Tune Up. He continued playing and recording in the early '80s, recording for Muse, Sonet, and Who's Who in Jazz. He suffered a heart attack and died in When the national hits dried up, Taylor wound up as one of the most prolific artists on the Malaco label, a refuge for many Southern soul and blues veterans whose styles had fallen out of popular favor by the '80s.

Johnnie Harrison Taylor was born in Crawfordsville, AK, on May 5, though he usually gave his birth year as ; he grew up mostly in nearby West Memphis. He began singing in church as a young child, and later moved to Kansas City, where he performed with a gospel group called the Melody Kings; it was through this outfit that he initially met and befriended Soul Stirrers frontman Sam Cooke.

InTaylor left home and moved to Chicago, where he joined the doo wop group the Five Echoes; shortly thereafter, he began performing concurrently with the gospel group the Highway QCs, which had once been home to Sam Cooke. InTaylor would replace Cooke in the hugely influential Soul Stirrers, after Cooke departed for a career in secular music. After four years with the Soul Stirrers, Taylor escaped gospel music's waning popularity and followed Cooke into the world of secular soul, becoming the first artist to sign with Cooke's label, Sar, in Debuting with 's This Is Your Night, Taylor and Malaco clicked right away, and he wound up recording a total of 12 albums for the label over the next 15 years, ranking as one of their best-selling artists.

Inhis album Good Love! Taylor's final album was 's Gotta Get the Groove Back; on May 31,he suffered a heart attack at his home in Duncanville, TX a suburb of Dallasand died at the hospital. He played in school bands, and in high school joined a Top 40 band called Mixed Company. Jazz keyboardist Keiko Matsui and her husband, producer Kazu Matsui, discovered him playing at the Catalina Island Jazz Festival and hired him to play in their band.

If he had had his wish, Torme would have been an exact contemporary of Frank Sinatra, and like Sinatra he might have had a full-fledged career as a big-band singer. In fact, given the breadth of his talents, he might have been a bandleader since, in addition to singing, he was also a drummer good enough to have gotten offers to go on the road as early as his teens, a songwriter responsible for one of the perennial Christmas standards, and an arranger who wrote the charts for much of the music he performed.

Nevertheless, Torme remains best known as a singer, and as a singer his career was one of considerable artistic achievement and frequent commercial frustration, particularly on records. And like Bennett and only a few others, he succeeded largely through persistence, bending to the extent he had to, but weathering many lean years until the s, when he found a sympathetic record company and renewed popular interest in the kind of music he wanted to perform.

Unlike Bennett, he persevered despite very limited commercial impact as a record seller. But he made up for that by being more appealing to the jazz audience, which responded to his obvious affection for the style and his talent for jazz singing he was bested only by Louis Armstrong and Ella Fitzgerald in his ability to scat. Describing a low point in his life in his autobiography, he wrote that he came to feel he didn't have a career, only a series of jobs.

If so, his singing and the wide variety of other talents he exhibited assured that he was never out of work. Torme was the descendant of Russian Jews who settled in Chicago. When the Torma family immigrated to America, an official on Ellis Island spelled the name Torme, and it was pronounced with a long e at the end until Torme or his mother, he wasn't sure added an acute accent and began pronouncing it with a long a.

When he was born, his father owned a dry goods store, but both parents were musical: his father sang, and his mother played the piano. Torme himself revealed his musical talent at an amazingly young age. According to his mother, he sang his first complete song at ten months. By the age of four, he would sing along with music on the radio, showing enough interest in the Coon-Sanders Orchestra on their remote broadcast from the Blackhawk Hotel in Chicago that his parents took him to see the band one Monday night.

That was the beginning of his career. An earthquake hit Armenia at am local time. Approximately 26, dead. The artist sent the file via a free file-sharing program by email. Miners planting flowers in University Square. Rather than being the culmination of a struggle, the actual moment in December was a sudden first event that was followed in the months and years to come by a structural conflict in Romanian society. The power installed in the wake of the revolution was a mix of mild perestroika-ists, Ceausist national socialist reform- ers, secret police operatives and vague liberals, and was highly contested by the intelligentsia, students and some members of the working and embryonic mid- dle classes, primarily in Western Romania.

It ended violently after the intervention of a large crowd of min- ers from Jiu Valley and security personnel disguised as miners were used as a pro-governmental paramilitary force. The enthusiasm and solidarity forged during the days of the Revolution melted into thin air after this crackdown and the subsequent profound disillusionment in any hope of a democratic Romania lead to mass emigration in the months that followed, but it also helped establish the ideological framework that would dom- inate in Romania for the next twenty years.

He does this through the tactical employment of socialist realist language, trying to provoke a critical stance towards the image of the worker, between unabashedly elitist demoniza- tion and heroic projections. The reproduction of the painting is accompanied in the exhibition by a fragment from University Square — Romania, the film by Stere Gulea, Sorin Iliesiu and Vivi Dragan Vasile, one of the first and most com- pelling documentaries of the events, that only managed to find the right political environment for it to be aired on Romanian Television five years ago.

The video also existed on YouTube without subtitles. The versions with Russian and English subtitles were uploaded onto YouTube by the curators, after receiving a DVD with English subtitles from the director of the original film himself. The Russian subtitles were added in Moscow, from the English ones, because the Russian curators seriously doubted their ability to find someone in Moscow who knew both Romanian and the tech- nical skill of subtitling.

When offered the option of destroying the exhibition copy, the artist declined vigorously. On Politics. But contemporary Ukraine does not afford him that opportunity.

Minin is a very young artist, but he was educated at the Kharkov Art Academy, where the Soviet value hierarchy still reigned. Under it art is primarily made for social spaces, squares, and streets. He is a LP) artist, but he has no success in realizing his ideas in public space or on the scale required. The original of this piece is very small indeed, and is held in a private gallery.

The only outlet for monumental painting today is as a temporary banner pro- moting political parties during elections. Minin receives many such proposals in Ukraine, but indignantly refuses them. He dreams of pure art. He genuinely wants to help miners and brighten their hard lives through his paintings.

But then it might quite well not mean any- thing to real miners anyway. Do we, then, need to talk about politics? Or is it bet- ter to bypass the subject, like the miners themselves do, in superstitious silence? Soviet artists, like Soviet miners, belonged to the privileged classes and enjoyed social protection.

Post-Soviet artists, having exhausted a tradition like a pitman in a half-empty mine, are left to their own devices and are lost. Is there a chance they could meet each other? Is there a chance to awaken the consciousness of each?

The installation was built according to exact specifications laid out in a detailed manual, also on display. That includes placing strict control on filming within the factory itself. One of those iconic moments where labor becomes visible is the moment when leisure time begins, when workers leave the factory.

Strangely, it is this exodus of labor that lies at the very beginning of the history of cinema. Harun Farocki has taken this first motion picture as a point of departure for extended archival research into how this image has been reproduced, under changing conditions, in the eleven decades from the s to the s.

In this video installation and in its prequel, a documen- tary, he shows how these images work, how they are contested and policed, throughout the momentous transition from dreams and nightmares of Fordist perfection and protest against its inhumanity to post-industrial malaise.

The s are omitted, implying that workers could not leave in wartime. And by the s, long after the failure to agitate or rouse the workers in the period aroundthe only thing left standing is the security apparatus.

The artist did the Russian subtitling himself, for which we are truly grateful. The town of Elektrenai began life as a settlement during the construction of the power plant, which was named the V. For many who had survived numerous adversities, the city became a symbol of happiness, historical optimism and hope. His film Energy Lithuania is not only about the people of the town and the reality of their past and future, but about the artistic prisms through which the Soviet s saw itself.

Workers Leaving the Factory in Eleven Decades. Energy Lithuania. Should we judge the past on what it proved capable of, having exhausted its limited human capacity? Or should our assessment factor in high-minded efforts and ideals alongside the worthless advances made? His refusal to see in history something fro- zen, given to us once and for all, and his attentiveness to continuous change in the past and future make him a genuinely dialectic artist.

And this means that he interprets the Soviet era and its art Soviet cinema foremost not solely as an object of study, but as a unique aesthetic lesson, a source of ideas to which inter- national contemporary art has yet to pay much attention. ED Builders of Brasilia Fig. The rights to these images belong to two different Brazilian governmental archives. The other files were shared with one of the curators by a friend over email thank you. In the archive, some of the photographs were filed without a known author.

Opening of Brasilia, Planalto Palace in the background. Next to that film, a fragment from it, entitled Update: Workers Leaving the Factory, is shown as part of the exhibition. There is a fundamental ambivalence in this scene: Why are they so happy? Is this a festival of some kind? Have they all been let out of prison?

But the image only becomes clear through an operation typical of immaterial labor and its teamwork model: One friend holds up a sheet of paper, and another watches. DR Blue Noses Fig. Stills from the film Strike. Obviously, the answer is in the negative. These people do exist; many visitors to the exhibition will recognize themselves in them. But they have lost their claim to a supposedly dominant social role which did not actually exist in the USSR and failed to acquire a new self-consciousness.

As an experiment — and as an attempt to stoke that same consciousness — Alexander Shaburov and Viacheslav Mizin screened two Soviet films to Ekaterinburg factory workers.

The installation at the exhibition is a result of that experiment. But it may be that the most significant symptom of an awakening conscious- ness — including that of the artist, who is certainly a modern proletarian in his own right — is the very fact that Blue Noses have abandoned the often artificial, monotonous, and forced laughter that accompanied their work over the past decade.

Having found a mountain of silver in the Andes much like the mountain of iron in Magnitogorskthe Spanish colonizers sent the indigenous Aymara to work in the mines, first converting them to Christianity and then using them as disposable labor in the lethal process.

Huayco Arte al Paso. Workshops in the Andes would produce up tocanvases of European religious painting per year. The author has made a new audio recording for the Ural Biennial. It is 10 hours long. We hear someone reading descriptions of old paintings aloud in pitch dark- ness. Can we imagine them, sight unseen? The recording is ten hours long; there is more art than our limited viewing and listening abilities can take in.

Arte al Paso. The exhibi- tions in the Louvre were extremely popular. For the first time in its history, art ceased to be inseparable from the Church or the royal court and became a public viewing phenomenon viewed by every section of society imaginable. Essentially, the Salons, which took place once every two years, were the predecessors of modern biennials.

Almost none of the works he wrote about survive to this day. We know noth- ing about their painters — they have sunk without trace. Was this the beginning of the reproduction of art and its integration into the entertainment industry that we witness today?

Huayco Fig. It was opened on PC, converted, and uploaded via ftp. The subtitles were made in Moscow, also using the transcripts of the English subtitles provided by email by Miguel Lopez thank you. Taller E. Huayco was a workshop or artists collective active in Lima, Peru between and The artists collective seem to merge the two terms in order to refer to both the floods as natural disasters and the ensuing social devastation in the country, but also to the floods as a metaphor for the immigration of peasants to the industrial megapolis, as a consequence of the failed agrarian reform.

The video presented here, Arte al Paso, interrogates the social mission, the limitations and compro- mises of art in the context of a vulnerable society scarred by exploitation.

It is a collage of overlapping economic data that instigates social insurrection and ques- tions the role of artistic practice Я жил в такие времена - Various - Песня служит на границе (Vinyl this social struggle through examples of artistic interventions.

One such action, carried out in a public space in Lima, addressed the social and cultural codes behind artistic representation. People from different social backgrounds were asked to state their preferences between different images, including international Western Christian art or local Christian iconography, modernist abstract art or indigenous abstract motifs, international realist style or local realist representations.

It again proved the lack of innocence of images and their vocabularies and stated the need to adapt the artistic means to the envisioned struggle. This did not work, and the film was downloaded from his own ftp.

Subtitles were added in Moscow. In it, the villagers are brought reproductions of mas- terpieces from the Old Masters Picture Gallery in Dresden, while the local museum hosts an exhibition of Mexican contemporary art.

Snyder reassembled the film, broke up its chronology, removed the narratorial voice of a self-satisfied, all-seeing storyteller and added phrases taken out of context as titles on a white background.

The Soviet model of displaying and interpreting art as presented in this film looks unusual and idiosyncratically innovative to the contemporary artist. The village audience does not see the original paintings or drawings that cost sky-high sums of money at auctions and send modern viewers into such raptures.

What they see are reproductions. After fruitless attempts to locate the author through her gallery, personal contact was established. The artist uploaded the film via ftp and subtitles were added in Moscow.

The Two Planets. Some of these expe- riences end up being privileged, others are shunted to the cultural and political curb. For her video-performance from the series The Two Planets, the artist brought life-size reproductions of classic European modernist artworks to a remote vil- lage in Thailand. But which of these models brings us closer to art? And do we have to look at modernism differently from how we look at any other art — from the vantage-point of modernity?

Art, for its part, is becoming a design that even runs through real human bodies, to say nothing of their self-representation. Bratkov gives this his full attention in his archival project, for LP) he col- lected and examined amateur erotic photographs from the Russian Internet. Amateur reactions can tell us exactly when Robert Mapplethorpe was widely shown and advertised for the first time in Russia and when Alexander Rodchenko was rediscovered by the public.

ED Vitaly Volovich Fig. The exhibition copies were, however, made from other copies held in a private collection. During the Soviet period he, like many others, preferred to work as far away from politics as possible — illustrating new editions of literary classics. His works quoted surrealism and other forbidden modernist art movements.

During the first years of new Russian capitalism, Volovich, an artistically atten- tive man, amassed a collection of classified advertisements for erotic services that suddenly appeared on the streets of Ekaterinburg. In any case it was an inexhaustible physical mate- rial that was being traded, supported by flickering quotations from mass culture.

In art, doubt was also cast on the necessity of production at that time: the art- ist was becoming a seller, not a producer, of images.

The dimensions of the work mm, according to the sketch have been adjusted to fit the exhibition space, and Chinese banknotes have been replaced by Я жил в такие времена - Various - Песня служит на границе (Vinyl ones. His work seeks to capture critical moments in these tectonic phenomena, in a language influenced, as with others of his generation, by Western minimalism and conceptualism.

In his installations and performances, Lin Yilin often employs raw construction materials, in an exposure of the basic material structure of the capi- talist system that, despite blinding post-Fordist rhetoric, still relies on the basic and quantifiable resources of human labour and raw materials. When producing this piece, Lin Yilin inserted his body into the brick wall, living briefly inside it. The Result of a lot of Pieces. The tables were found in the printing press. The banner was hand made by the artists in Bucharest and shipped to Ekaterinburg via express mail.

Production Line for the Future. Sketch for the installation Capitalism came to the former socialist countries in a flood of mobile images. An entire generation grew up glued to the TV watching videos about the won- ders of the West as shock privatization raged outside.

Today, that generation is the reserve army of labor for post-Fordist service industries, and the digital rev- olution has swept away even the memory of the VCR. Mona Vatamanu and Florin Tudor use the defunct medium to create a production line for the future, only it is one that does the work of disassembly. Defunct tapes are gathered, broken, and recycled on tables. The result is an installation whose grid form evokes archi- tectural carcasses and echoes of laboratory constructivism.

But actually, the idea of using video tape in this way came from a real practice in Venezuela, where peasants use the magnetic filament to demarcate redivided land.

It becomes clear that they are appropriating the erstwhile language of US artistic hegemony during the Cold War, and are using it to construct and ren- der visible those fields that minimal art obscured; they are recapturing it the way you would steal a video tape, and are using it to model a broader social process of redistribution. In that sense, one could say they are helping to return minimal- ism to its original political meaning.

The prints were made from files the artists sent via email. The installation in Ekaterinburg was made on their instructions. Maps depict areas of Kiev where the artists live and Eka- terinburg where public space is disappearing under the onslaught of private interests. Permission for exhibition copies to be printed, and later destroyed was not officially granted. But both gallery and artist granted permission for the photos to be reprinted in the catalog. Thus, the work exhibited is a mockup of catalog pages with reproductions of photographs by Zbigniew Libera.

But they are staged in such a way as to make mournful, frightened, or shocked faces become joyful, euphoric. Failure in a Cross-Country Race from the series Positives. Nepal from the series Positives. Pedals like spears and steering wheels like tomahawks. As has now been proved, in the majority of cases those old pictures were staged and montages — ideological constructions — themselves.

But today the nature of this staging is changing. Positives are some of the most provocative, morbid, and troubling artworks of the late 20th century, even though all the mor- bidity has been erased from them. Or perhaps for that very reason. To a large extent, these photographs are about forgetting and removing trauma. But Positives also has a wider meaning. The original photographs were, in the majority of cases, scenes from war dis- placing the usual order of things — in other words, everyday labor.

Today these are photographs of leisure albeit regimentedvarious hobbies and cheerful social interaction. Classical 19th and 20th cen- tury capitalism announced its exploitative essence relatively honestly, with severe self-criticism growing inside it in the form of the artistic avant-garde. The new capitalism in which all mankind lives today heralds the coming of an era of universal prosperity that can only be disturbed by terrorist attacks in which members of all classes have all the necessary conditions for their personal growth, creativity, and leisure.

Now asceticism is a diet fad, and the laconic lan- guage of privation is design. The only thing that can still affect us is torture by happiness and full self-realization.

Expressing this is extremely difficult. Cage drove his Model A Ford over a length of con- nected drawing sheets while Rauschenberg carefully applied black paint to one of the rear tires. The resulting straight tire track across 20 sheets of paper is like one long breath on a Chinese scroll, one note signaling the end of the working day. The result is not a meditative continuum but a jagged swerving mark that looks exactly like the sort of abstract expressionist gesture Rauschenberg was working against.

Its trajectory reads like a trace of the violent s and the era of shock privatization; the abrupt end of a cruise through free time that seemed endless, the cheap thrill of finally losing control, however briefly.

The title of the piece is a line by Russian rapper Naggano. DR Daniel Faust Fig. He demanded highly professional technology used to mount vintage photographs. Daniel Faust follows the great tradition of sociological and anthropological photography, though people rarely appear in his work.

It may be, however, that they are not what should be the subject of sociological and anthropological inter- est. They can be located more in communicative processes, in mechanisms for creating and conserving information, than in bodies or objects. Faust photographs the nodal point of this new world — museums and the UN headquarters, Silicon Valley corporations and international laboratories.

Like a real sociologist, he looks at facts, not at promises. All these institutions concentrate information, which presents itself as a new, even more immaterial form of capital. This concentration is so intense that it is frightening: it seems as if a crime could have been committed in these depopu- lated spaces, next to the telephone left off the hook and a half-finished can of cola. Or that one is being committed there now. Corporate anthems are one of the crudest measures for maintaining company discipline.

Reportedly invented in Japan, their introduction in the USA in the mid- s coincided with the revival of the feel-good singalong through songs like We are the World, when 45 pop stars led by Michael Jackson joined in a chorus against the famine in Africa. In post-Soviet Russia, the corporate hymn fuses with pioneer songs, a double humiliation for the employees of baked potato chain Kroshka Kartoshka.

Each collective, no matter how reticent, always has a leader, a foreman. This is not necessarily the most musically talented person in the group; in fact, many of the loudest voices are singularly unmusical, and they lead the other singers into an embarrassed silence.

Paradoxically, it is here that the anthems become musically interesting: when collective coercion col- lapses into embarrassed mumbling, when vocal chords simply refuse to sing. DR Praneet Soi Fig. Part 1. For the past three years, Praneet Soi has been recording the work of a printer in his workshop in the Kumartuli district of Kolkata. The printer uses his aging machines to produce receipts for small enterprises, usually on thin pink or yellow paper, and prints the names of the sweetmeat shops, that are ubiquitous in every Bengali neigh- borhood, on unfolded paper cartons.

His prints are sometimes made into small magazines that are displayed to prospective clients to give them an overview of everything his workshop can do. His commercial prints are inter- spersed with him printing his own image, photographed or drawn by Praneet Soi. Notes on Underdevelopment. The Printer from Kumartuli — on the observation and representation of labor.

The subtitles were prepared as a Final Cut file in Moscow, and sent to Berlin, where the film was rendered, and installed for screening in Ekaterinburg on a special media player supplied by the artist herself. The point of no return, usu- ally followed by plumes of fire, shockwaves, and burning debris raining down. But what does it really mean? Maybe it is far more than just another coded image of economic collapse.

Maybe it hides the permanent crisis immanent to disaster capitalism, an ongoing implosion that constantly reforges both the world of things and matter and the subjects that make them. They are juxtaposed with singularly pristine HD footage from an air- plane graveyard in California, where real airplanes eventually go to die. Here, you can see the intersection between immaterial and material production: First, the airplanes are used by Hollywood for spectacular explosions, then the scrap aluminum is recycled and resurrected as the metallic coating on DVDs.

Steyerl deepens this investigation by following the life of 4X-JYI, a Boeing that was blown up for the blockbuster Speed In Free Fall. In the last part of the film, Steyerl shifts from the possible subjectivity of objects to the objective life of the subject literally behind the camera.

The cameraman, a former shockworker in the film industry, tells how economic crisis drove him from his newly acquired house, his profession made redundant by the digital revolution.

What will he do with all the time he now has at his disposal? Diagram 4. Decentration of an Apartment and Cottage Social Decentration. Copyright permission was given thanks to friendly relations with the Foundation.

Inthe leading Soviet sociologist and urbanist theoretician Mikhail Okhi- tovich published the article Towards the Problem of the City in the magazine Con- temporary Architecture. In it he drew diagrams illustrating the development of liv- ing space. The cottage, that petit-bourgeois space for a single family, in a way an artisanal homestead with all mod cons, opens itself to the world and delegates its functions to the state and hired professionals: washing to the laundry, food prep- aration to the restaurant, and sexual services to the streetwalkers.

Okhitovich suggested that, in creating such extreme conditions of alienation, capitalist society was setting the stage for a future communist revolution where decentralization would lead to the flourishing of individuality and the freedom to create.

Since then, society has come to delegate family functions to professionals increasingly often — for example, not solely the upbringing, but also in conceiv- ing, carrying, and giving birth to children. The degree of alienation has only grown: childbirth, free time, and friendship can be bought and sold. The network has won out — on the Internet, but also as a network of global trade corpora- tions. Dreams of the communist future have been dashed like nightmares of a furniture store selling an image of an ever more creative individual through increasingly basic self-assembly units.

I remember our Saturday walks through our part of Haifa. I felt like I met an interesting guy whose views on music and composition were very close to mine.

I was also charmed by his great sense of humor. You see, I first got acquainted with Noubar as a person, and I heard his music later. In his music, I feel his deep love to Armenian folk motives which is very natural for Noubar.

Many of his pieces are tragic, as is the fate of this ancient, most wonderful and hard-working nation. I can relate to him, being a clarinetist myself. Having watched the video, I sent a short note of gratitude to Jeffrey. I usually followed his recommendations and played them the way he wanted. Noubar is a very subtle musician and a great person. The slow parts are very moving and very insightful. The music is amazing. Some more details about the clarinet concerto. It gave me a huge inspiration, and as I played, I was trying to feel the music, to picture Armenia as a county and a nation.

To feel it the way he feels, you know? And I enjoyed this transformation a lot! We went to Armenia to perform this concerto there with the National Symphonic Orchestra. It was a grand success.

I will always be proud of these memories. You should have seen how we landed in Yerevan! Noubar was bursting with joy and happiness! And he passed this love to me by his music. Still inspired by that, I am planning to visit this country once again and to bring my family with me. I hope we do perform something else with the wonderful Armenian orchestra I will be always grateful to Noubar for his wonderful music!

He is a conservatory teacher and a member of a symphonic orchestra and a jazz band. As a child, I played in a wind orchestra and my Dad was the conductor. He dedicated some of his pieces for trumpet to me. I play both classical music and jazz with a great pleasure. The most important thing for me is the quality of the music.

My father loves jazz, especially if jazz music is linked with folk melodies. I am proud of my father and I love him very much. This article has been shortened. His tone showed the influence of his study with Jacques Lancelot, while his technical display especially in the Kurpinsky Concerto, and highly charged emotional approach were unequaled during the week. He also proved to be one of the friendliest and most gregarious of the Congress faculty J. Guiness Publishing Ltd. Dorling Kindersley Ltd.

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UK: Polydor Records LP) Connection», «The Shed Subtle ». Recorded live at Budokan, Tokyo, Japan Recorded live at Circus Krone, Munich, Germany CD CD — Live in Koln, Shadow Of The Moon radio edit. Germany No Second Chance radio edit. Germany Wish You Were Here radio edit.

Christmas Eve Music by R. Blackmore; Lyrics by C. Christmas Eve CD Single — Ritchie Blackmore — electric and acoustic guitars, bass, mandolin, drum, tambourine. Pre-production engineering and additional string arrangements on tracks 2, 5, 6, 9 and 13 — Joe James. Praetorius Courante instrumental Michael Praetorius; Arr.

Ritchie Blackmore — electric and acoustic guitars, mandolin, hurdy gurdy, Renaissance drum, tambourine. Candice Night — vocals, backing vocals, shawm, harp, recorder, pennywhistle, electric bagpipes. Ritchie Blackmore — electric and acoustic guitars, mandolin, mandola, hurdy gurdy, Renaissance drum. Lord Marnen of Wolfhurst — violin on bonus tracks only. Just One Minute instrumental Music by R.

Ritchie Blackmore — electric guitars, acoustic guitars, tambourine, hurdy gurdy, Renaissance drum. Candice Night — lead vocals, backing vocals, pennywhistle, shawms, cornamuse, Rauchpfeife, chanters.

Blackmore, additional music by Clarke trad. I Still Remember Music by R. Blackmore, additional music traditional; Lyrics by C. Play Minstrel Play Music by R. Night; Trad. Records YRCG Faerie Queen Music: R. Blackmore; Lyrics: C. Mond Tanz instrumental R. Japan :. Candice Night — lead vocals, backing vocals, shawms, rauchpfeife, recorder, chanters.

On the cover: «In the romantic town of Rothenburg ob der Tauber, Germany» from an original oil painting by Karsten Topelmann. UK: Decca Records D UK: Warner Bros. Records BS Spanien 14 Jh. Schlussteil W. Mozart; Lyrics: trad. Sanders, Subtext: G. Guitar Greats: R.

TAKE 1 Comp. TAKE 2 Comp. TAKE 3 Comn. Alphonse Mouzon Bolin — Snowbound E. Silas Dooley Jnr. Cm — Records VSCD Silas Dooley Jr. Allison B-side, Columbia DBThe Assasination Of John F. UK: PolvGram K. CRP Connection promo. Germany: Thompson Music Ptv Ltd. VPBR Records CRP Leeds Polytechnic directed by Graham Hough, Recorded at Music Halle, Cologne, Germany Theresa» J.

Records YRBG Concert Burg Veldenstein — Burg Neuhaus. Minstrel Hall Music. Video YRBG Candice Night — lead vocals, renaissance woodwinds shawm, cornamuse, rauschpfifepen-nywhistles, recorder, tambourine. Ritchie Blackmore — guitars, bass also bass on rough mix tracksDeluxe Edition. Piano outro on «L. Ritchie Blackmore — guitars, renaissance drum, nyckelharpa, hurdy gurdy, mandola, mandolin.

Candice Night — vocals, harmonies, penny whistle, gemshorn, rauschpfeife, shawms, bombards, chanters, recorders. Deep Purple. Fotografien Von Didi Zill. Soundtrack, Berlin, Machine Head.

A Photographic Record. DPAS, Quick Fox, New York, Iskry, Warszawa, Japan side one: 1. Ritchie Blackmore — guitar. Craig Gruber — bass. Gary Driscoll — drums. Arrangements by Ritchie Blackmore. All lyrics by Ronnie James Dio. Mix production by Martin The Wasp Birch.

Master cut by Kendon Records. Inspiration — J. Illustration — David Willardson. Tony Carey — keyboards. Jimmy Bain — bass. Cozy Powell — drums. Koncert Meister — Fritz Sonneleitner 5.

Produced and recorded by Martin Birch. Lyrics by Ronnie James Dio. Recorded at Musicland Studios, Munich sometime in February Painting — Ken Kelly.

Intro: Over The Rainbow E. Don Airey — keyboards. Roger Glover — bass. Produced by Roger Glover. Engineered by Gary Edwards. Mastered by Greg Colby. Illustration by Ron Walotsky. Art direction: Bill Levy. Magic B. Bob Rondinelli — drums. Engineered by Flemming Rasmussen.

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