Artwork

New Books Network and Marshall Poe에서 제공하는 콘텐츠입니다. 에피소드, 그래픽, 팟캐스트 설명을 포함한 모든 팟캐스트 콘텐츠는 New Books Network and Marshall Poe 또는 해당 팟캐스트 플랫폼 파트너가 직접 업로드하고 제공합니다. 누군가가 귀하의 허락 없이 귀하의 저작물을 사용하고 있다고 생각되는 경우 여기에 설명된 절차를 따르실 수 있습니다 https://ko.player.fm/legal.
Player FM -팟 캐스트 앱
Player FM 앱으로 오프라인으로 전환하세요!

Voice of Yoko

38:07
 
공유
 

Manage episode 442748901 series 3338092
New Books Network and Marshall Poe에서 제공하는 콘텐츠입니다. 에피소드, 그래픽, 팟캐스트 설명을 포함한 모든 팟캐스트 콘텐츠는 New Books Network and Marshall Poe 또는 해당 팟캐스트 플랫폼 파트너가 직접 업로드하고 제공합니다. 누군가가 귀하의 허락 없이 귀하의 저작물을 사용하고 있다고 생각되는 경우 여기에 설명된 절차를 따르실 수 있습니다 https://ko.player.fm/legal.

Today, Phantom Power‘s Amy Skjerseth brings us the story of perhaps the most famous vocal performance artist and avant-garde musician whose actual work probably doesn’t get the attention it deserves: Yoko Ono. Collaborator with the Fluxus group in the early 60s, creator of performances such as Cut Piece and her Bed In with John Lennon in the late 1960s, director of experimental films such as 1970’s Fly, and recording artist of experimental pop albums such as that Fly’s soundtrack… Despite this large body of work, her most famous role was that of wife to that guy in that band—a performance that made her the target of misogynous and racist criticism that persists to this day.

As Amy points out, much of this criticism centered on the sound of Yoko Ono’s voice. Of course, as we’ve explored on this show before, listening to the other with a racist or sexist ear is nothing new. But in Ono’s case, this prejudicial listening is compounded by the fact that, years before the emergence of punk rock, she was pushing the boundaries of acceptable vocal expression for anyone, let alone a woman—moaning, wailing, chortling, and screaming.

The vast majority of listeners immediately dismissed these sounds as a punchline. On today’s show, we’re going to actually listen. What is the purpose and meaning and effect of Ono’s vocal artistry? We’re exploring it in her recorded work, in her feminist and pacifist political agenda, and most of all, in her film Fly, in which she uses her voice to destroy boundaries between sound and touch, human and animal, self and other.

This episode includes elements from an audio essay Amy published at [in]Transition: Journal of Videographic Film & Moving Image Studies.

Music by Yoko Ono, John Lennon, John Cage, Tanya Tagaq, and Graeme Gibson, as well as “Crickets, Birds, Summer Ambient” by Nikodemus Christian. You can hear most of the music again on this Phantom Power Spotify Playlist.

You can hear Yoko Ono’s Twitter response to Trump (November 11, 2016) here.

Learn more about your ad choices. Visit megaphone.fm/adchoices

Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

  continue reading

700 에피소드

Artwork

Voice of Yoko

New Books in Music

12 subscribers

published

icon공유
 
Manage episode 442748901 series 3338092
New Books Network and Marshall Poe에서 제공하는 콘텐츠입니다. 에피소드, 그래픽, 팟캐스트 설명을 포함한 모든 팟캐스트 콘텐츠는 New Books Network and Marshall Poe 또는 해당 팟캐스트 플랫폼 파트너가 직접 업로드하고 제공합니다. 누군가가 귀하의 허락 없이 귀하의 저작물을 사용하고 있다고 생각되는 경우 여기에 설명된 절차를 따르실 수 있습니다 https://ko.player.fm/legal.

Today, Phantom Power‘s Amy Skjerseth brings us the story of perhaps the most famous vocal performance artist and avant-garde musician whose actual work probably doesn’t get the attention it deserves: Yoko Ono. Collaborator with the Fluxus group in the early 60s, creator of performances such as Cut Piece and her Bed In with John Lennon in the late 1960s, director of experimental films such as 1970’s Fly, and recording artist of experimental pop albums such as that Fly’s soundtrack… Despite this large body of work, her most famous role was that of wife to that guy in that band—a performance that made her the target of misogynous and racist criticism that persists to this day.

As Amy points out, much of this criticism centered on the sound of Yoko Ono’s voice. Of course, as we’ve explored on this show before, listening to the other with a racist or sexist ear is nothing new. But in Ono’s case, this prejudicial listening is compounded by the fact that, years before the emergence of punk rock, she was pushing the boundaries of acceptable vocal expression for anyone, let alone a woman—moaning, wailing, chortling, and screaming.

The vast majority of listeners immediately dismissed these sounds as a punchline. On today’s show, we’re going to actually listen. What is the purpose and meaning and effect of Ono’s vocal artistry? We’re exploring it in her recorded work, in her feminist and pacifist political agenda, and most of all, in her film Fly, in which she uses her voice to destroy boundaries between sound and touch, human and animal, self and other.

This episode includes elements from an audio essay Amy published at [in]Transition: Journal of Videographic Film & Moving Image Studies.

Music by Yoko Ono, John Lennon, John Cage, Tanya Tagaq, and Graeme Gibson, as well as “Crickets, Birds, Summer Ambient” by Nikodemus Christian. You can hear most of the music again on this Phantom Power Spotify Playlist.

You can hear Yoko Ono’s Twitter response to Trump (November 11, 2016) here.

Learn more about your ad choices. Visit megaphone.fm/adchoices

Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

  continue reading

700 에피소드

모든 에피소드

×
 
Loading …

플레이어 FM에 오신것을 환영합니다!

플레이어 FM은 웹에서 고품질 팟캐스트를 검색하여 지금 바로 즐길 수 있도록 합니다. 최고의 팟캐스트 앱이며 Android, iPhone 및 웹에서도 작동합니다. 장치 간 구독 동기화를 위해 가입하세요.

 

빠른 참조 가이드