So, therefore, that is the reason that I use gay guerrilla, in hopes that I might be one, if called upon to be one. And, you know, if there is a cause - and if it is a great cause - those who belong to that cause will sacrifice their blood, because, without blood, there is no cause. That’s why I use that word guerrilla: it means a guerrilla is someone who is, in any case, sacrificing his life for a point of view. 154 likes, 5 comments - Sonic Boom Records: Seattle WA (sonicboomrecords) on Instagram: 'Coming in hot with Danielle’s top 10 of 2019 featuring her taste in all. Composer Note From Julius Eastmans remarks to the audience before the premieres of Crazy Nigger, Evil Nigger, and Gay Guerrilla in January 1980 during his. John Eastman was a little-known but respected conservative lawyer. You see, I feel that - at this point, I don’t feel that gay guerrillas can really match with ‘Afghani’ guerrillas or ‘PLO’ guerrillas, but let us hope in the future that they might, you see. ![]() The late 70s and early 80s were among his most prolific years, giving some of his works provocative titles like Gay Guerrilla. This concert features two of the works performed as a piano quartet and Gay Guerrilla performed by a large ensemble of electric guitars. I don’t feel that ‘gaydom’ has - does have - that strength, so therefore, I use that word in the hopes that they will. Eastman was a pioneer not only as an openly gay and Black composer in the 1970s but also as one who incorporated elements of free jazz and pop into a minimalist compositional language. And in the case of guerrilla: that glorifies gay - that is to say, there aren’t many gay guerrillas. “Now the reason I use Gay Guerrilla - G U E R R I L L A, that one - is because these names - let me put a little subsystem here - these names: either I glorify them or they glorify me. Mary Jane Leach is a composer and freelance writer, currently writing music and theatre criticism for the Albany Times-Union.From Julius Eastman’s remarks to the audience before the premieres of Crazy Nigger, Evil Nigger, and Gay Guerrilla in January 1980 during his composer-residency at Northwestern University: Renee Levine-Packer's book This Life of Sounds: Evenings for New Music in Buffalo received an ASCAP Deems Taylor Award for excellence. The book presents an authentic portrait of a notable American artist that is compelling reading for the general reader as well as scholars interested in twentieth-century American music, American Studies, gay rights, and civil rights. Nemo Hill, Kyle Gann, John Patrick Thomas, Mary Jane Leach, Ryan Dohoney, Andrew Hanson-Dvoracek, Matthew Mendez, and Luciano Chessa. Lewis, Renée Levine Packer, David Borden, R. Renée Levine Packer and Mary Jane Leach (University of Rochester Press) chapters by George E. The essays in Gay Guerrilla offer context on Eastman's life history and the era's social landscape, commentaries on the composer's personality and talents, and analyses of his music. The astonishing thing is that, as music critic Kyle Gann writes in his chapter for Gay Guerrilla, Julius Eastman’s music rose from the dead. Review of Gay Guerrilla: Julius Eastman and His Music, ed. Eastmans provocative titles, including Gay Guerrilla, Evil Nigger, Crazy Nigger, and others. ![]() These episodes are examples of Eastman's persistence in pushing the limits of the acceptable in the highly charged arenas of sexual and civil rights. Composer-performer Julius Eastman (1940-90) was an enigma. This important volume of essays, brought forth by two brilliant women who have long championed Eastman's music, belongs in every music conservatory library and beyond. Eastman tested limits with his political aggressiveness, as recounted in legendary scandals he unleashed, for example, his June 1975 performance of John Cage's Song Books, which featured homoerotic interjections, and the uproar over his titles at Northwestern University. Gay Guerrilla: Julius Eastman and His Music has arrived just in time for Black Lives Matter and gets my deepest praise. ![]() Composer-performer Julius Eastman (1940-90) was an enigma, both comfortable and uncomfortable in the many worlds he inhabited: black, white, gay, straight, classical music, disco, academia, and downtown New York. Eastman's provocative titles, including Gay Guerrilla, Evil Nigger, Crazy Nigger, and others assault us with his obsessions. A compelling portrait of composer-performer Julius Eastmans enigmatic and intriguing life and music. His music, insistent and straightforward, resists labels and seethes with a tension that resonates with musicians, scholars, and audiences today. Composer-performer Julius Eastman was an enigma, both comfortable and uncomfortable in the many worlds he inhabited: black, white, gay, straight, classical music, disco, academia, and downtown New York.
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