Zoot Woman
From their live shows, the group has gained a worldwide following. With the album Living in A Magazine Zoot Woman established themselves on the music scene. The live act is Adam Blake. Johnny Blake and different supporting musicians.
Credited by many within the industry as one of the most important forerunners of electroclash. The band in full generally disassociates itself from the largely instrumental material released by Adam Blake and Stuart Price before adding Johnny Blake to the line-up and taking a new direction stylistically. This is evidenced by the lack of its coverage on the official website.
The song Hope in the Mirror was featured in the soundtrack to Mack Dawg Productions 2004 snowboard video Chulksmack, in the Jussi Oksanen section of the film. Their track Grey Day appeared in David Benedek 's film 91 Words for Snow (2006, Blank Paper Studio). This helped spread the word to the snowboard community.
In December 2007, a new single titled We Won't Break was released as a free download on RCRD LBL. The single was accompanied by a music video directed by Mirjam Baker and Michael Kren. In March 2008, the band made a second single ( Live in My Head ) available for download on their MySpace page. Both songs are featured on their third album, Things Are What They Used To Be . which was released on 21 August 2009.
Their track "It's Automatic" has also been the subject of recent covers with many rappers deciding to use this as a backing for various tracks. One such artist is JD Era. while possibly the most well-known cover of "It's Automatic" due to its use in an online car commercial is Mickey Factz 's "Automatic" featuring Curtis Santiago. [ 1 ]
In 2008 Zoot Woman established the record label Zoot Woman Records on which the 2009 album Things Are What They Used To Be was released.
It was announced on their official website that Zoot Woman were in the studio and had begun recording new material for a follow-up album. [ 2 ]
On 1 January 2013, the Zoot Woman Facebook and Twitter accounts stated that the band look forward to introducing and touring the new album Star Climbing . On 11 December 2013, Zoot Woman's new single, The Stars Are Bright was made available on iTunes. nearly one year after the initial album announcement.
Other singles from the album Star Climbing include the song Don't Tear Yourself Apart . Stuart Price said in a statement, "We recorded Star Climbing over a three-year period between our studios, working on songs and lyrics until we felt like we had found the albums direction. It is our most distinctive album to date, combining all our different tastes and styles into one."
Contents
History [ edit ]
Living in a Magazine (2001) [ edit ]
With the release of the conceptual debut album Living in A Magazine in 2001, Zoot Woman established themselves on the music scene, releasing the singles "It's Automatic" and "Living in a Magazine". The album's pop sensibility is evident on tracks such as "Jessie", "Holiday Home" and "Information First". Simon Price of The Independent writes, "This is the sound of minor-key heartbreak in departure lounges and penthouse suites, an album which should come with "New York, London, Paris, Munich" embossed on the sleeve."
Zoot Woman (2003) [ edit ]
Теги
Общие теги
Биография
Zoot Woman — музыкальный коллектив из Великобритании, играющий электронную музыку в стиле электроклэш. Создана Адамом Блейком и Стюартом Прайсом как инструментальный проект в середине 90-х годов. В 1999 году в состав группы вошёл Jonny Blake. Группа считается одними из самых важных предшественников стиля электроклэш, а их стиль действительно самобытен. Благодаря своим живым выступлениям коллектив получил международную известность.
jeszczeniekot
Light_and_Magic
I'm a bit disappointed, too. It's a a decent electropop-album, but lacks this certain "Zoot Woman-uniqueness".
The Woman in the Zoot Suit
The Woman in the Zoot Suit: Gender, Nationalism, and the Cultural Politics of Memory is a book by Catherine S. Ramirez. It digs into the participation of Mexican-American women in the zoot suit culture of the 1940s. Ramirez aims to reinterpret the past. Ramirez pulls from a large selection of cultural artifacts as well as primary and secondary data, this data describes the experiences of Pachucas, women zoot suiters from the 1940s and 1950s, and it reconstructs the historical and iconic figures in Mexican American history. Women were barely acknowledged in later rejected Pachucas' presence in the 1940s because they threatened gender equality.
Contents
Chapter 1: Domesticating the Pachuca [ edit ]
Chapter one tries to reinsert women into narratives of Mexican American cultural identity, community, and history. [ 1 ] This chapter talks about the Sleepy Lagoon incident. which put Mexican American Zoot Suiters into the spotlight. In the Sleepy Lagoon incident, there was a man was murdered in August 1943 in a brawl. Twenty-two young men who were of Mexican descent were convicted for the brawl. Though the Sleepy Lagoon consisted of all men, women were bystanders. Girls were the one to find the dead man. There were several other girls and women that were involved in the case but are not noted in history. Many girls were sent to the Ventura School for Girls, a youth authority correctional facility known for having cruel disciplinary measures. [ 2 ] After about six months the girls were released, though they stayed wards of the state until they turned twenty-one. [ 3 ] They were punished for hanging out with people who cause trouble in the neighborhoods.
Chapter 2: Black Skirts, Dark Slacks, and Brown Knees [ edit ]
Chapter two aims at describing the wartime Pachuca style politics. [ 4 ] It aims to display the zoot subculture in clothing, hair and make up, and the expression of difference through the style. It aims to form an analysis of gender and women in youth culture. The way that women dressed during this time period is very important because it stands out from other styles and it mimics the style their male counterparts upheld during this time as well. The way they dressed was a "political statement" that defeated all odds and at times made them a target in society because the difference in their attire. The Mexican American woman zoot suit, wore V-neck sweaters or a long shouldered coat, a knee-length pleated skirt, fishnets or bobby socks, platform heels or saddle shoes, dark lipstick, and a bouffant. She put on the same style of zoot suit that her male counterparts wore. In the 1940s Pachucos and Pachucas represented a new generation of Mexican American youth and created a new look. Although a lot of their attire was similar each Pachuca added their own style and exemplified to better fit them. They way Pachucas dressed caused for authorities to closely monitor their activities just to make sure that they would not act out of norm. This chapter also talks about how the Pachuca style has influenced other styles that have risen and has also been appropriated by today's celebrities.
Chapter 3: Saying "Nothin'": Pachucas and the Languages of Resistance [ edit ]
In this chapter, Ramirez presents us with a critical analysis by examining the theme of pachucas and language. Ramirez refers to this as a stylistic element of wartime Pachuquismo: language and speech. [ 5 ] Ramirez talks about how the Pachuca emerges speaks many languages: English, Spanish, and Pachuco slang. [ 6 ] In order to highlight the tensions and complexities that the Pachucas were experiencing at this time, Ramirez draws from historical events like the Chicano Movement and connects it to struggles of identity, gender, culture, language, and resistance. Similarly, she compares how the pachuco slang language known as (calo) mirrors their African American counterparts who spoke jive. Ramirez inquiry on Pachucas and the language of resistance is mostly revealed through models of transcripts, songs, and other texts that she includes throughout chapter three. [ 6 ] She reveals how pachucas adopted the coolness and hipness which were almost always associated with male youths. [ 6 ] Her example on the zoot suit was also used as a tool for Chicanas to show signs of difference and opposition to the status quo. [ 7 ] The zoot suit generally consisted of a long coat and skirt or pair of billowing trousers. [ 8 ] Although pachucas created their own style of dressing and their own way of speaking as a way to show resistance towards oppressive spheres, the given political climate at that period of time portrayed them negatively and connected them with sex, drugs, and violence with sources like the media. [ 9 ] Indeed, articles on pachucas and pachucos (and Mexican youth in general) that appeared in newspapers during the 1940s showed a negative image of them. Ramirez presents us with the case of People v. Zammora (the Sleepy Lagoon trial transcript), an event that took place in Los Angeles on the night of August 1 and in the early morning of August 2, 1942, which involved two fights and the body of twenty-two-year-old Jose Diaz death. [ 10 ] She talks about how in this case Pachuca women regain their agency as Bertha Aguilar (a witness) chooses to purposefully not testify and instead she chooses to remain silent because she does not want to implicate her Mexican American male friends in the murder of another Mexican American youth. [ 6 ]
Chapter 4: La Pachuca and The Excess of Family and Nation [ edit ]
In this chapter, Ramirez seeks to understand how the Chicano Movement (1960s–1970s), with its emphasis on Chicano cultural nationalism and opposition to imperialism and racism—interpreted la Pachuca and el Pachuco. She focuses on the importance of the media portrayal and the written work by scholars and artists during such historical events like the Chicano Movement which lead to major influence on the interpretation and portrayal of la Pachuca and el Pachuco. [ 11 ] Ramirez talks about a generational rift occurring within the pre-movement and post-era writers and how cultural production creates, nurtures, sustains, and transforms collective memory over time. [ 12 ] Ramirez acknowledges that the visual representation of pachuca females was not the norm of what a female lady like should be through a decidedly heterosexual political climate. Ramirez notes that pachucas sometimes dressed in masculine attire and in other non-traditional styles, therefore, they became symbolic of all so-called aberrant female figures, thereby referring to her as a hyper masculine or butch lesbian. [ 11 ] In this chapter, Ramirez challenges the portrayal of female pachucas. Ramirez challenges the dominant view on how a lady like supposed to look like. Indeed, Ramirez challenges traditional ideas of masculinity and how la Pachuca was not embraced by the Chicano cultural nationalist, while el pachuco was. Ramirez talks about the concept of La Raza which can be commonly referred and connected to the family within the Pachuco experience. Ramirez complicates notions of heterosexuality and the norms within the family. She unveils how female pachucas played a critical role in such historical event and that through a critical lens we can understand how female pachucas can be a model to empower future chicana generations. Ramirez provides us with Las Tres Marias (The Three Marys ) depicted in Christian art for their deep faith and commitment to Jesus Christ, and how they came to serve as role models in a revolutionary way. [ 11 ] In this case, the Pachuca is no longer the other but instead takes agency and control over he own sense of self-identity. By being placed in a heterosexual platform, yet still choosing to dress, talk, and maintain a sense of one's own creation of identity, la Pachuca develops a sense of self-empowerment and a sense of self agency. La Pachuca represents a new paradigm for understanding sexuality, nationalism, and cultural resistance. [ 13 ]
Теги
Общие теги
Биография
Zoot Woman — музыкальный коллектив из Великобритании, играющий электронную музыку в стиле электроклэш. Создана Адамом Блейком и Стюартом Прайсом как инструментальный проект в середине 90-х годов. В 1999 году в состав группы вошёл Jonny Blake. Группа считается одними из самых важных предшественников стиля электроклэш, а их стиль действительно самобытен. Благодаря своим живым выступлениям коллектив получил международную известность.
jeszczeniekot
Light_and_Magic
I'm a bit disappointed, too. It's a a decent electropop-album, but lacks this certain "Zoot Woman-uniqueness".
No comments:
Post a Comment