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. 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. 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. 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. I don’t feel that ‘gaydom’ has - does have - that strength, so therefore, I use that word in the hopes that they will. 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. As it speaks to our hearts, as it offers an glimpse of the freedoms implied by the sublime, a shackle is bound – a consciousness of our complicity with unforgivable sin.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: It is a music which carries the body of a man. It is Christ like – metaphor and beauty which is impossible to separate from the evils of the world. Eastman’s work is a conscious act of intervention, plowing into a context defined by heterosexual whiteness, attacking its unjust demands from within. 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. It is music, doubling as the voice of a man, which, because it refused to be oppressed, was suppressed or ignored. He liked choreographic aspects, he would bring people on and off the stage, and always included improvisation. Parte 1 Julius Eastman, Frank Ferko, Janet Kattas, Patricia Martin, pianoforti. The object in your hands contains some of the most striking and important music composed during the later decades of the 20th century - music which remained lost and unheard for years, not because of what it is, but because of who its composer was. What Julius did that other composers may not have done, says author Renée Levine-Packer, co-editor of Gay Guerilla: Julius Eastman and His Music, was fuse jazz, even popular motifs or innuendos into classical. Julius Eastman (1940-1990): Gay Guerrilla, per 4 pianoforti (c. He knew exactly what he was doing, and to whom he spoke. This is '2pm performance 'Gay Guerrilla' by Julius Eastman' by Ingleby Gallery on Vimeo, the home for high quality videos and the people. Eastman’s audience was largely heterosexual and white. This concert features two of the works performed as a piano quartet and Gay Guerrilla performed by a large ensemble of electric guitars. What Eastman was early to recognize, was that there is a fundamental difference in what happens when these words are spoken by white people toward people of color, and when people of color deploy them toward a white audience. His response was a flamboyant foreshadowing of the sentiments toward bigoted language which later arose within hip-hop culture – to publicly take back these words, assert ownership of them, and deploy their power for positive change. Edited by Rene Levine Packer & Mary Jane LeachUniversity of Rochester Press, 2018 Julius Eastman enjoyed the admiration of peers such as Morton Feldman. Eastman tested limits with his political aggressiveness, as reflected in legendary scandals like his June 1975 performance of John Cage’s Song Books, which featured homoerotic interjections, and the uproar over his. Find many great new & used options and get the best deals for Eastman Studies in Music Ser.: Gay Guerrilla : Julius Eastman and His Music by R. When the composer was asked to perform the series at Northwestern University in 1980, due to protests by African American students, their titles were censored in the event’s program. Eastman’s provocative titles, including Gay Guerrilla, Evil Nigger, Crazy Nigger, and others, assault us with his obsessions. Some of themost challenging and beautiful works composed for piano during their era, they double as a window into the intricate thought process and contentiousness of their creator. Gay Guerrilla and Evil Nigger, both composed in 1979, with a third work, Crazy Nigger, make up what Eastman called The Nigger Series.
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