Greatest Showman

2020

1983

...

A transcription of Brad Mehldau's solo in Knives Out.

Paranoid, 1970

As recorded by Black Sabbath (From the 1970 Album PARANOID)

Performance Paradigm , 2018

https://www.performanceparadigm.net/index.php/journal/article/view/216 From gluing audience members to their seats and purposefully selling the same ticket to more than one person, artists associated with the Historical Avant-Garde often sought to provoke and antagonise by employing disruption via interruptive processes. This paper responds to Claire Bishop’s call for more agonism (Bishop, 2004) by inserting the heckler as both method and object into art performance. It is a hybrid of practice and theory, statement and response, test and experiment; it is a combination of all these things because you can’t really envisage a heckler without taking him out for the night putting him in the world and observing the exchanges that take place. We think that practicing heckling has got to be worth the aggravation. This paper seeks to do two things: first to explore the heckler as a ‘device’ for reassessing the potential of interruption in democratic exchange, in particular in relation to contemporary theories of art and participation and second to try it out; to put the heckler at the centre of an artwork. In short, we propose a rethinking of the heckler. Part 1: Heckle, Hiss, Howl and Holler asks if there is something worth considering in the process of heckling for democratic exchange and, Part 2: Contract, Collaboration, Countdown and Confrontation strikes out to see what happens when you present an artwork that trials a performance about heckling via the act of heckling. The inhospitable performance Contract with a Heckler demonstrates a complex knitting of theory and practice whereby argument is supported by the undertaking of action (by the necessity of experiencing interruption in practice) and reveals working with interruption on a theoretical, practical and emotional level can be exciting, provocative and dangerous. Exploring contractual agency through hostipitality (Derrida, 2000) wherein a host may be as hostile as she is hospitable, this performance reimagines the event of performance as an event of (in)hospitality by embodying an ambivalent conviviality and employing heckling to disrupt convivial participation (Bourriaud, 1998).

Annals of Palliative Medicine

• Series : Ashgate Popular and Folk Music Series See details on publisher's website here http://www.ashgate.com/isbn/9781472441591 • • Using a collection of over one thousand popular songs from the war years, as well as around 150 soldiers’ songs, John Mullen provides a fascinating insight into the world of popular entertainment during the First World War. Mullen considers the position of songs of this time within the history of popular music, and the needs, tastes and experiences of working-class audiences who loved this music. To do this, he dispels some of the nostalgic, rose-tinted myths about music hall. At a time when recording companies and record sales were marginal, the book shows the centrality of the live show and of the sale of sheet music to the economy of the entertainment industry. Mullen assesses the popularity and significance of the different genres of musical entertainment which were common in the war years and the previous decades, including music hall, revue, pantomime, musical comedy, blackface minstrelsy, army entertainment and amateur entertainment in prisoner of war camps. He also considers non-commercial songs, such as hymns, folk songs and soldiers’ songs and weaves them into a subtle and nuanced approach to the nature of popular song, the ways in which audiences related to the music and the effects of the competing pressures of commerce, propaganda, patriotism, social attitudes and the progress of the war. • • Contents: Preface; Introduction: Battles, society and entertainment; Portrait of an industry: producing popular music 1914-1918; Focus on a star 1: Harry Lauder, Scottish ambassador?; A patchwork of genres; Focus on a star 2: Vesta Tilley, the woman who played men; The songs and their content; Focus on a star 3: Focus on a star: Marie Lloyd, ‘Our Marie’; ‘If you were the only girl in the world’: women, men and love in music hall song; Focus on a star 4: Harry Champion: ‘The spirit of the poorer parts of London’; Songs about the war: elite voices and people’s voices; ‘I want to go home’: soldier songs and other non-commercial songs; Conclusions; Appendix; Bibliography; Index. • • About the Author: John Mullen is senior lecturer at the University of Paris-East Créteil. He has published widely on the history of British popular music. Articles include a reflection on 'ethnic' music festivals and immigrant identity (1960–2000), and a piece on racial stereotyping in music-hall songs from 1880 to 1920. His website is www.johncmullen.net.

Beyond Christian Hip Hop. Edited by Erika D. Gault and Travis Harris. Routledge, 2019

Poroi, 2008