Podcast appearances and mentions of Julius Eastman

Vor einigen Jahren bekam die Thurgauerin einen der renommierten Schweizer Musikpreise. Und wurde damit nicht nur für ihr Klavierspiel ausgezeichnet, sondern auch für ihre unermüdliche Suche nach dem, «was im Verborgenen blüht». Nach dem klassischen Klavierstudium entfaltete sich Simone Kellers künstlerische Freiheit vollends: Obwohl sie nach wie vor auch das klassisch-romantische Repertoire liebt und pflegt, liegt ihr Fokus heute auf neuer und neuster Musik. Insbesondere hält sie stets Ausschau nach kaum bekannter oder wenig gespielter Musik, wie derjenigen von Aussenseiter:innen wie Julius Eastman oder Julia Perry. Mit ihren Ensembles wie dem Kukuruz Quartett eröffnet sie so Einblicke in vergessene Klangwelten. Immer mehr Wichtigkeit bekommt für Simone Keller Interdisziplinäres und Musiktheater. Zusammen mit ihrem Mann Philip Bartels gründete sie 2014 die Produktionsfirma ox&öl. Auch in ihren musiktheatralischen Arbeiten sind Diversität, Zugänglichkeit und Inklusion zentrale Konzeptpfeiler. Zudem engagiert sich die freiberufliche Musikerin auch in mehreren sozialen Projekten. Als Vorstandsmitglied im Verein «Save young musicians» hilft sie mit, jungen Musiker:innen aus Krisengebieten Zugang zu musikalischer Weiterbildung zu ermöglichen. Simone Keller ist also immer auf Achse, sie kann nur ganz oder gar nicht. Sich zurücklehnen und ausruhen ist ihre Sache nicht - aber sie arbeitet daran, entspannt sich etwa wenn sie Schwyzerörgeli spielt. Erstausstrahlung: 21.09.2022

This conversation between curators Ebony L. Haynes, Thomas (T.) Jean Lax, and K.O. Nnamdie was initiated alongside an essay series in e-flux journal titled “After Okwui Enwezor,” edited by Serubiri Moses.  The episode begins with three short audio excerpts from [1] On the Politics of Disaggregation: Notes on Cildo Meireles' Insertions into Ideological Circuits—Parsons The New School for Design  [2] Postwar: Art between the Pacific and the Atlantic, 1945–1965—Fondation Giacometti [3] Art Dubai Global Art Forum 8: 1955–2055: A Documenta Century Exhibitions covered include: Postwar: Art Between the Pacific and the Atlantic, 1945–1965 (2016) and the 56th Venice Biennale: All the World's Futures (2015). Additionally, the idea of rigorous curating, and the horizon is explored in discussion of recent exhibitions including Judson Dance Theater: The Work is Never Done (2018) at MoMA, and Invisible Man (2017) featuring Jessica Vaughan, Kayode Ojo, Torkwase Dyson and Pope.L at Martos Gallery, and Evil N*gger (2025) featuring Glenn Ligon and Julius Eastman at 52 Walker.   The “After Okwui Enwezor” series in e-flux journal reflects on the resounding presence of the late writer, curator, and theoretician. Along with a focus on his many innovative concepts like the “postcolonial constellation,” the series presents a wide evaluation of Enwezor's curatorial and theoretical practice following other similar initiatives, such as the special issue on Enwezor by the journal he founded, Nka Journal of Contemporary African Art. Moving beyond tributes and biography, this series covers topics such as the relevance of Enwezor's approach to politics, the limits of the exhibition as a form for critique, his conception of modernity and writing on the contemporary, his nomadic epistemology, accounts of his biennials in Seville, Paris, and Venice as institutional critique, and the specific contribution of non-Western artists in the art world. Ebony L. Haynes is the curator and Senior Director at 52 Walker, a David Zwirner gallery space presenting longer format exhibitions with primarily conceptual and research-based artists. T. Lax is a curator of media and performance at New York's Museum of Modern Art, where he has co-organized Judson Dance Theater: The Work is Never Done (2018), Just Above Midtown: Changing Spaces (2022) and Ceremonies Out of the Air: Ralph Lemon (2024) among others. Thomas began his career at the Studio Museum in Harlem, where he contributed to the landmark “f show” contemporary art series in 2012 and put together When The Stars Begin To Fall: Imagination and the American South in 2014. K.O. Nnamdie is an artist, writer, curator, and art advisor. Nnamdie ran Restaurant Projects, a curatorial project between 2018 and 2025 based on their interest in the intersection between hospitality and the arts. Nnamdie also directed anonymous gallery between 2021 and 2024.  

*The look of the upcoming City Council ballot *Cuyahoga Falls wins Champion of the River Award *State Road meeting *School seeking sponsorships *Neighbor week *Auditions for ANTIC's Happily Ever After *Summit Arts Collective Improv Club for kids *Mr. Jeff honored with World Entertainment Award for Best Children's Album *Akron Renaissance Festival *An interview with author Jim Woods (43:43) Thank you for listening. We are always in the market for article submissions and suggestions for podcast interviews. If you are interested in volunteering with on The Falls Free Press or the Fallscast, or are a musician wishing to showcase your music on the podcast, drop us a line at fallsfreepress@gmail.com. If you enjoyed the show, be sure to rate and review us on Apple Podcasts to let others know to listen. Fallscast theme and interstitials composed and performed by Alex Hall. This episode recorded and edited by Bart Sullivan. “Julius Eastman” composed and performed by Tyler Yohey

durée : 00:18:30 - Femenine : Julius Eastman - Talea Ensemble - Femenine met en scène le façonnage et la construction par Eastman de la forme masculine noire et homosexuelle - pris non pas nécessairement entre deux pôles de genre, mais avec son travail qui l'amène constamment à se construire lui-même.

durée : 00:18:30 - Femenine : Julius Eastman - Talea Ensemble - Femenine met en scène le façonnage et la construction par Eastman de la forme masculine noire et homosexuelle - pris non pas nécessairement entre deux pôles de genre, mais avec son travail qui l'amène constamment à se construire lui-même.

durée : 00:18:30 - Femenine : Julius Eastman - Talea Ensemble - Femenine met en scène le façonnage et la construction par Eastman de la forme masculine noire et homosexuelle - pris non pas nécessairement entre deux pôles de genre, mais avec son travail qui l'amène constamment à se construire lui-même.

On this episode of ReCurrent, Jaime embarks on a journey to uncover the life and legacy of avant-garde composer Julius Eastman. Through conversations with those who knew him, Jaime explores how Eastman’s bold compositions challenged the boundaries of minimalist music, blending classical rigor with raw emotion and cultural defiance. As Jaime dives deeper into Eastman’s life, he draws personal connections to his own journey of self-expression and cultural identity, discovering how Eastman’s music resonates beyond sound, shaping artistic and social landscapes today. Jaime dives into the compelling story of Julius Eastman, a Black, openly gay composer who revolutionized minimalist music in the 1970s and ’80s. As Jaime traces Eastman’s life and career, he reflects on how Eastman’s compositions not only challenged traditional forms of music but also defied societal expectations of race, sexuality, and genre. With interviews from key figures in Eastman’s life, like his brother Gerry Eastman and music archivist Mary Jane Leach, Jaime pieces together Eastman’s complex legacy. He explores the emotional and cultural depth of Eastman’s work, uncovering how his music continues to inspire a new generation of artists. Through this intimate portrait, Jaime connects Eastman’s fearless spirit to his own personal journey, revealing how art can serve as both a reflection of identity and a powerful means of breaking through boundaries. Special thanks to: Gerry Eastman, Mary Jane Leach, Nemo Hill, and Sarah Cooper. Additional music by: Splice.com Rights and Clearances by: Gina White Additional resources: Original recordings by Julius Eastman can be found in Getty's Kitchen Archive, the archive of New York City's leading alternative art space. Learn more:  https://www.getty.edu/research/special_collections/notable/the_kitchen.html Getty is working to make African American art history more visible to the public and accessible to the scholarly community worldwide. Learn more: https://www.getty.edu/projects/african-american-art-history-initiative/

Christopher Rountree is probably best known as the conductor of the LA-based new music ensemble known as Wild Up. Over the last 14 years he and that band have played with Bjork, done live film scores to movie screenings, and embarked on a multiyear recording project of the long forgotten and now rediscovered music of Julius Eastman. But Christopher Rountree is also a composer, and his latest work is called 3 BPM. It seems like it might be his reply to the rise of AI in music, because he describes the piece as “a musical framework for being together.” In an open score that could be part map, and part game, the ensemble performs the entirety of 3 BPM in-studio.  The ensemble for this New York in-studio includes:  Christopher Rountree, voice / synthCatherine Brookman, voice / synth  Nadia Sirota, viola  Adam Tendler, pianoPhong Tran, electronicsTaylor Levine, electric guitarRachel Beetz, flute 3 BPM by Christopher Rountree with Wild Up | HOCKET | Nadia Sirota

This episode of Reverberations centers on the Los Angeles-based chamber orchestra Wild Up, and their album Julius Eastman Vol. 4: The Holy Presence. The Holy Presence is the fourth in an ongoing series of releases by Wild Up celebrating the work of composer Julius Eastman, who died in 1990. Host Majel Connery speaks to Christopher Rountree, founder, conductor and creative director of Wild Up, and two of the soloists who helped shape the volume: bass-baritone Davóne Tines and cellist Seth Parker Woods. Their conversation ranges from the inspiration behind this multi-volume project to an exploration of what the “Holy Presence” entailed for Eastman, and what it should mean for us.

This episode of Sound Propositions features scholars Kerry O'Brien and Will Robin, editors of the recent anthology On Minimalism: Documenting a Musical Movement. Described as a historical source reader, the book compiles over 100 primary sources retelling the story of minimalist music from the 1950s to the present. Sources include liner notes, interviews, journalism, manifestos, and other material organized chronologically and thematically, with introductory essays from the editors. Not a simple revisionist history seeking to expand the canon, let alone an attempt to dethrone the “Big Four” composers, On Minimalism nonetheless radically reconsiders the scope of minimalist music. In some ways the book is a restorative history, following the offshoots of musical practices that had once been described as “minimalist,” beginning with non-western music and modal jazz in the 1950s up to drone rock and techno of the present. We discuss the influence of Ravi Shankar, why the Coltranes were minimalists, the Julius Eastman revival, and much more. Read more at A Closer Listen —-Sound Propositions is written, recorded, mixed, and produced by Joseph Sannicandro. --- Support this podcast: https://podcasters.spotify.com/pod/show/soundpropositions/support

Kun je de wereld veranderen met muziek? Joris en Guido trekken op onderzoek uit. Ze duiken in de historie van klassiek muzikaal protest, van het 17de-eeuwse geuzenlied tot de provocaties van de zwarte Amerikaanse queer-componist Julius Eastman. De kracht van klassiek verandert de mens. En ook de maatschappij? Gedraaide muziek: * repetitiefragment uit Reconstructie (1969), een opera van het collectief Louis Andriessen, Reinbert de Leeuw, Misha Mengelberg, Peter Schat, Jan van Vlijmen, Hugo Claus en Harry Mulisch * Alweer geen deegh de kuyp is leegh, Camerata Trajectina * Joseph Haydn, deel vier (Finale) uit: Symfonie nr. 45 in f-klein, Il Giardino Armonico o.l.v. Giovanni Antonini * Jean Sibelius, Finlandia, Minnesota Orchestra, YL Male Voice Choir o.l.v. Osmo Vänskä * Ethel Smyth, The March of the Women, Chorus of the Plymouth Music Series * Kurt Weill, Die Mortitat von Mackie Messer, uit: Die Dreigroschenoper, Wolfgang Neuss, Wilhelm Brückner-Rüggeberg * Julius Eastman, Evil Nigger, Wild-Up

Er starb vereinsamt und verarmt in einem Krankenhaus in Buffalo und hinterliess ein vielgestaltiges Werk. Die Black Lives Matter-Bewegung entdeckte Eastman für sich. Inzwischen ist seine ungezähmte Musik im Konzertsaal angekommen. Julius Eastman wollte nicht mehr als sich selbst sein. «In vollen Zügen schwarz, in vollen Zügen Musiker, in vollen Zügen Homosexueller». Damit platzte er in die Blase der weissen Avantgarde New Yorks und brach mit seinen sexuell aufgeladenen Performances als Sänger, Tänzer und Komponist Tabus. Exemplarisch dafür ist der Bruch mit John Cage auf dem Campus in Buffalo. Zwischen den Stücken aus Cages «Song Book» improvisierte Eastman 1975 eine Satire über ein «neues System der Liebe», während er das «Beste aus beiden Welten» (die schwarze «Miss Suzyanna» aus Haiti und den «blonden Charles» aus Buffalo) hiess, sich auf der Bühne zu entkleiden. Am Ende war nur Charles nackt und Eastman liess die Hose herunter. Die Performance über umgekehrten Rassismus und homosexuelle Hemmungslosigkeit provozierte. Cage, der Homosexualität als Privatsache betrachtete, soll auf die Bühne gestürmt sein und Eastman zur Rede gestellt haben. Anderntags beschwerte er sich beim Institutsleiter. Eastmans Musik trägt Titel wie «Gay Guerilla» und «Evil Nigger» und repräsentiert ein Selbstverständnis, das schon zu Lebzeiten Widerstand innerhalb der Community provozierte. Die afroamerikanische Studentenorganisation der Northwestern University in Evanston (Illinois) etwa setzte 1980 die Streichung des N. Worts auf dem Programmzettel durch, worauf Eastman vor dem Konzert eine Gegenrede hielt. «Die USA hätte ohne die Feld-Niggers niemals die ökonomische Kraft aufbauen können, über die sie heute verfügt.» Das beleidigende Wort verwende er, um die Rolle der Afroamerikaner in der amerikanischen Geschichte zu ehren. Die Pianistin Simone Keller gehört zu den ersten, die sich im Bund mit dem Kukuruz Quartet Eastmans Klaviermusik gewidmet hat. 2018 hat das Quartett eine Referenzaufnahme vorgelegt. Ihr folgt 2024 eine Solo-CD, die Simone Keller vergessener Musik etwa von Olga Diener, Julia Amanda Perry und Julius Eastman widmet. Er schrieb nicht nur wütende Minimalmusic, er rang sich auch intellektuell fundierte Stücke wie etwa «Piano 2» ab. Simone Keller blickt im Gespräch mit Corinne Holtz auf den Werdegang des Aussenseiters, an dem die Sakralisierung zum Klassiker zu beobachten ist. Ausserdem spricht die Pianistin über die Herausforderung, als weisse Frau Eastmans Musik und der kontrovers diskutierten Intersektionalität gerecht zu werden.

Uit gouden klassiekers op de piano eigentijdse jazz toveren. Er zijn een paar pianisten die dat echt heel goed kunnen, Peter Beets bijvoorbeeld, en Xavi Torres. Leuk om te horen. Ook een pianist: Volker Bertelmann, beter bekend als Hauschka. Schreef ook de muziek voor All Quiet On The Western Front. Een paar fijne sessies van VPRO Vrije Geluiden, moet je ook echt horen (en zien, elders op de website!). En een tip voor zondagavond 17 december, NPO 2 Extra: de Vrije Geluiden-registratie van een verbluffende voorstelling met 'Gay Guerilla' van Julius Eastman. En dan hebben we ook nog de Hollandse Nieuwe! van deze week (Circus Dinogad met onder meer het Dudok Quartet). Het uurtje loopt gewoon over als een rijke bron in het bos. 23.04 eigen opname  Max Reger: Lyrisches Andante, "Liebestraum" Münchener Kammerorchester 5'05”  CD All quiet on the western front (Netflix Music) Volker Bertelmann: All quiet on the western front Hauschka 2'39”  CD Philanthropy (City Slang) Volker Bertelmann: Detached Hauschka 5'08”  23.11 eigen opname Nikolai Rimsky-Korsakov, arr. Peter Beets: Flight of the bumblebee Trio Peter Beets 3'38”  CD Kind of Beethoven (Just Listen Recordes JL027) Ludwig van Beethoven, arr. Xavi Torres: Pianosonate nr 14, opus 27 ‘Quasi una fantasia' Xavi Torres; Joris Roelofs; Joan Terol 5'26”  21.21 eigen opname Jalil Shahnaz: Chaharmezrab Shur  Khorshid Dadbeh (tanbour); Sepand Dadbeh [ud] 5'02”  eigen opname Abdullah Miniawy, Peter Corser: Pearls for Orphans Le Cri du Caire 3'48”  21.30 eigen opname Julius Eastman: Gay Guerilla Helena Basilova; Vivianne Cheng 10'58”  21.43 CD Circus Dinogad (Zefir Records ZEF 9701) Mike Fentross: 77 tears Hilary Summers; Maarten Ornstein; Mike Fentross; Dudok Quartet 1'39” CD Circus Dinogad (Zefir Records ZEF 9701) Henry Purcell: Sweeter than roses Hilary Summers; Maarten Ornstein; Mike Fentross; Dudok Quartet 4'38” 23.51 The Expected Sounds of Minor Music (130701 Records Fatcat Records) Emil Friis; Patricio Fraile: Copenhagen, February Emil Friis; Patricio Fraile; Joe Zeitlin 4'32”  The Expected Sounds of Minor Music (130701 Records Fatcat Records) Emil Friis; Patricio Fraile: Somewhere Emil Friis; Patricio Fraile; Joe Zeitlin 3'42” 

Composer and pianist Julius Eastman's personal philosophy was, “To be what I am to the fullest.” A graduate of the Curtis Institute, his music was highly acclaimed and challenged racist and homophobic stereotypes. Find out more in the 'Rhapsody in Black' podcast.

Today, the Spotlight shines On Kerry O'Brien and William Robin, co-authors of the book On Minimalism: Documenting a Musical Movement from University of California Press.Philip Glass, Steve Reich, Terry Riley and LaMonte Young are stereotypically described as the “Big Four” of minimalism in music. While On Minimalism does nothing to undermine or belittle their pioneering and important contributions to the form, the authors widen the aperture to show a broader scope to the music, from its beginnings in the psychedelic counterculture through its present-day influences on ambient jazz, doom metal, and electronic music. The book encompasses figures as diverse as Yoko Ono and Brian Eno, John and Alice Coltrane, Pauline Oliveros and Julius Eastman, as well as many other well-and-little-known names and subgenres. There is also a much due focus on the contributions of women, people of color, and LGBTQ+ musicians. I loved this book and I think listeners to this podcast will as well.Enjoy Kerry O'Brian and William Robin, on minimalism.------------------Dig DeeperGrab a copy of On Minimalism from UC Press, Bookshop, Powell's, Amazon, or Barnes & NobleFollow Kerry O'Brien on Instagram, Facebook, or Twitter (X)Follow William Robin on Instagram or Twitter (X)On Minimalism: a Spotify Playlist ------------------I would like to give one of our listeners my copy of On Minimalism. If you would like it, go to spotlightonpodcast.com and once you're on the home page, go to the newsletter sign up form. To be considered, give us your first name and email address. Current newsletter subscribers will be entered automatically. Enter by Noon Pacific Time on November 8. We will select a recipient at random that afternoon and contact them for shipping details. ------------------• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines On Kerry O'Brien and William Robin, co-authors of the book On Minimalism: Documenting a Musical Movement from University of California Press.Philip Glass, Steve Reich, Terry Riley and LaMonte Young are stereotypically described as the “Big Four” of minimalism in music. While On Minimalism does nothing to undermine or belittle their pioneering and important contributions to the form, the authors widen the aperture to show a broader scope to the music, from its beginnings in the psychedelic counterculture through its present-day influences on ambient jazz, doom metal, and electronic music. The book encompasses figures as diverse as Yoko Ono and Brian Eno, John and Alice Coltrane, Pauline Oliveros and Julius Eastman, as well as many other well-and-little-known names and subgenres. There is also a much due focus on the contributions of women, people of color, and LGBTQ+ musicians. I loved this book and I think listeners to this podcast will as well.Enjoy Kerry O'Brian and William Robin, on minimalism.------------------Dig DeeperGrab a copy of On Minimalism from UC Press, Bookshop, Powell's, Amazon, or Barnes & NobleFollow Kerry O'Brien on Instagram, Facebook, or Twitter (X)Follow William Robin on Instagram or Twitter (X)On Minimalism: a Spotify Playlist ------------------I would like to give one of our listeners my copy of On Minimalism. If you would like it, go to spotlightonpodcast.com and once you're on the home page, go to the newsletter sign up form. To be considered, give us your first name and email address. Current newsletter subscribers will be entered automatically. Enter by Noon Pacific Time on November 8. We will select a recipient at random that afternoon and contact them for shipping details. ------------------• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. Hosted on Acast. See acast.com/privacy for more information.

This hour, we listen back to a special presentation of the podcast Timeline from Vermont Public Classical. In this show, host James Stewart shares with listeners the music and life story of Julius Eastman, an openly gay Black composer whose music is only now being rediscovered.Broadcast at noon and 7 p.m. on Thursday, Aug. 24, 2023; originally broadcast on Feb. 20, 2023.

The revival of Julius Eastman's work has transformed the world of avant-garde music, and in many ways can be attributed to a single individual. Since the late 1990s, the composer and performer Mary Jane Leach has collected manuscripts and recordings of Eastman's music, and helped bring about the current wave of "Eastmania." But the politics of Eastmania have become increasingly complicated, and Leach has found herself enmeshed in controversy around who can make claim to his legacy. A conversation about all that, and more.Mary Jane Leach is a composer, performer, scholar, and co-editor of "Gay Guerrilla: Julius Eastman and His Music."Show notes and more over at soundexpertise.org!Questions? Thoughts? Email soundexpertise00@gmail.com or tag Will on Instagram/Twitter @seatedovation 

Ryan Dohoney is a historian of U.S. and European modernism and experimentalism. He is associate professor of musicology in the Bienen School of Music at Northwestern University where he is also core faculty in Comparative Literary Studies and Critical Theory. He has writes on interdisciplinary modernism and religion as well as Black queer asceticism (focused on Julius Eastman). He has published two books: Saving Abstraction: Morton Feldman, the de Menils, and the Rothko Chapel (Oxford 2019) and Morton Feldman: Friendship and Mourning in the New York Avant-Garde (Bloomsbury 2022). He holds degrees from Rice University (B.Mus.) and Columbia University (Ph.D.).

This episode is also available as a blog post: https://thecitylife.org/2023/03/28/92ny-presents-wild-up-radical-adornment-the-music-of-julius-eastman-with-special-guests-devonte-hynes-and-adam-tendler/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Lonnie Holley's Oh Me, Oh My is a continuation of his exploration of the darker rooms of our history that were the centerpiece of his 2018 album Mith. On that release, Holley seemed content to simply illuminate for the sake of awareness. Oh Me, Oh My finds the lauded artist/poet/musician settling for nothing less than carrying the listener to a home in the light that everyone, Holley seems to argue, deserves no matter what hardship came before. It's a message of hope that will thaw even the coldest of hearts, and an early (and easy) contender for the best album you are likely to hear in 2023.PLUS! Eduardo and Kevin are spinning tracks from percussionist Joe Westerlund's new LP Elegies for the Drift and Los Angeles music collective Wild Up's exploration of the work of Julius Eastman!Discussion Guide0:00 - Shop Talk5:15 - Tracks we love24:43 - Oh Me, Oh My1:01:15 - Apple Classical Music App / Wrap upSupport this show http://supporter.acast.com/discologist. Hosted on Acast. See acast.com/privacy for more information.

Vermont Edition shares a special presentation of the podcast Timeline from Vermont Public Classical, where host James Stewart introduces listeners to Julius Eastman, an openly gay Black composer fro the 70s and 80s whose music is only now being rediscovered.

[RE-AIR FROM JANUARY 21, 2022] Julius Eastman was a Black, queer composer and a fixture of downtown New York's music scene in the 1970s, who died in 1990 in relative obscurity. Beginning last year, the Los Angeles-based music collective Wild Up has attempted to honor Eastman's legacy by recording and releasing his work in a seven-part series. Members Christopher Rountree and Jiji join us to discuss the second volume, Joy Boy, for an All Of It Listening Party. TK Shelley Washington joining as well.

Timeline from Vermont Public Classical presents the ten-part series about composer Julius Eastman as one complete podcast episode. Explore the life and legacy of this amazingly talented composer/performer who died penniless and homeless in 1990, but whose work is finally getting the attention it deserves today.

This is our final episode in our ten-part series on the life, music and legacy of composer Julius Eastman. Over the course of ten episodes, we've talked about art, race, sexuality, expression, and who gets to be in the classical canon. As we wrap up this discussion we remember Julius Eastman separate from his musical legacy, Eastman the person. And hear some stories told by the people who knew him.

This is part nine of our ten part series on composer Julius Eastman. The Classical canon is a collection of pieces that are the most often played and studied; sort of like the greatest hits of classical music. It's a curated list of quote/unquote “important” pieces, composers and works. This curation started in the 19th century and the list heavily favors white, European men. In this episode we'll talk about righting the canon by making room for more diverse voices and composers.

This is part eight of our ten part series about Julius Eastman; a composer whose work has been experiencing a renaissance lately as a new generation is discovering his individual musical style.

This is the seventh of our ten part series about Julius Eastman; a composer whose work has been experiencing a renaissance lately as a new generation is discovering his individual musical style. In this episode we'll discuss the way that Eastman chose to title his works and push the boundaries of classical music.

We're at part six of our ten-part series exploring the life, work and influence of composer Julius Eastman. We've talked a lot about Eastman's past and personality, in this episode we'll focus on his music.

We're deep in our series exploring the life and legacy of composer Julius Eastman. We've already spoken with authors, composers and musicians who are bringing Eastman's music and story to a new generation. In this episode, we have the chance to hear more of the story first-hand.

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

We're at part four of our ten part series exploring the life and legacy of Julius Eastman, an openly gay, black composer that died nearly forgotten, penniless and homeless in 1990; nearly forgotten that is, until now.

Jennifer Walshe on the meaning of brown noise, music from Martinique by way of Paris from Sélène Saint-Aimé, the rise and rise of Julius Eastman, and rethinking Bach on the nyckelharpa.

To celebrate Black History Month, another chance to hear The Otolith Group's Kodwo Eshun on the re-emergence of "ecstatic militant minimalist" Julius Eastman.

We're focusing on the life and influence of Julius Eastman, a composer who is just now getting his due attention in the classical world. For decades, Julius' music was all but forgotten; that is until another composer, a friend of Eastman, got involved.

This is part two of our series on the life and works of Julius Eastman, a deeply neglected composer of contemporary music in the late 70s and early 80s. In fact, he was almost forgotten. I, myself, had barely heard of Eastman in all my musical studies and he certainly wasn't on my radar, that is until an email appeared in my inbox.

On Timeline, we will be diving into the music, life and legacy of Julius. We'll look at his development as a musician and an artist. We'll talk about his reputation and his struggles with being an openly gay, black man in the late 70s and early 80s. We'll discuss the triumph and tragedy and also discuss the place that Eastman's music has, or should have, in the canon. Of course, that means talking about the very concept of the classical canon itself.

Alec and Nick discuss the implications of American and European musical avant-gardes as participating in militaristic and nationalist rhetorics that precode our contemporary “culture war” discourse. The conversation explores how aesthetic “war-games” — in their varyingly diplomatic and contentious outcomes — are imbricated in the broader colonial trajectory of 20th and 21st century institutions. Topics include the correspondences of Cage and Boulez, Julius Eastman's controversial performance of Cage, Alvin Lucier, the American hotdog, Charles Ives, Hamilton, anti-Italian Twitter, the US Open, John Adams' “Nixon in China,” the Cold War-era military funding for abstract expressionism, Henry Flynt and Tony Conrad's anti-Stockhausen demonstration and more.

Ben Luke talks to Adam Pendleton about his influences—from the worlds of literature, music and, of course, art—and the cultural experiences that have shaped his life and work. Pendleton, born in 1984 in Richmond, Virginia, makes paintings, drawings, performances, films and other works exploring the relationship between Blackness, abstraction and histories of the avant-garde. He is perhaps best known for an ongoing body of work he calls Black Dada. He discusses the influences behind Black Dada, from the poetry of Amiri Baraka to the sculpture of Sol LeWitt, reflects on the drawings of Jean Dubuffet and the drafts and revisions of Joan Jonas's work, and enthuses about the power of Nina Simone's voice and Julius Eastman's compositions. Plus, he gives insight into his studio life and answers the ultimate question: what is art for?Adam Pendleton: In Abstraction, Pace Gallery, Geneva, 7 September-5 October; Adam Pendleton: Toy Soldier, Galerie Eva Presenhuber, Zurich, 10 September-26 November. Whitney Biennial: Quiet as It's Kept, Whitney Museum of American Art, until 5 September. Adam Pendleton, Mumok, Vienna, 31 March-10 September 2023. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Kodwo Eshun of The Otolith Group on the group's film "The Third Part Of The Third Measure" and the music of Julius Eastman. (2 of 2)

Julius Eastman was a Black, queer composer and a fixture of downtown New York's music scene in the 1970s, who died in 1990 in relative obscurity. Beginning last year, the Los Angeles-based music collective Wild Up has attempted to honor Eastman's legacy by recording and releasing his work in a seven-part series. Members Christopher Rountree and Jiji join us to discuss the second volume, Joy Boy, for an All Of It Listening Party.

More music, meditation, and dance plus community events end the four-day Festival starting with Meditation with the music of Julius Eastman, followed by Hans Otte's The Book of Sounds, and two world premieres Dance in the Park and Rome is Falling. To end this jam-packed Fesrival, the Sunday Finale will display the virtuosity of all 17 AMOC members as a collective. Guests: Ara Guzelimian, Julia Eichten, and Doug Balliett. Emily Praetorius, producer and host Louis Ng, sound engineer (lensonproductions.com) OJAICast theme by Thomas Kotcheff and Louis Weeks Music Excerpts in Episode 4: The Book of Sounds, mvts. 1, 10, by Hans Otte      Performed by Ralph van Raat  

From early morning sunrise to evening sunset, AMOC dives into the music of icons George Lewis and Roscoe Mitchell, the life and music of Julius Eastman alongside world premieres of works by Anthony Cheung and new staging of Messian's Harawi. Guests: AMOC member and flutist Emi Ferguson and composer Anthony Cheung. Emily Praetorius, producer and host Louis Ng, sound engineer (lensonproductions.com) OJAICast theme by Thomas Kotcheff and Louis Weeks Music Excerpts in Episode 2: Gay Guerilla, by Julius Eastman      Performed by Julius Eastman Stay on It, by Julius Eastman      Performed by Julius Eastman, Doug Gaston, Amrom Chodos, Dennis Kahle, Benjamin Hudson, Joseph Ford, George Mitkoff, Jan Williams, Peter Kotik Harawi, mvts. 2, 6, 10, by Olivier Messiaen      Performed by Hetna Regitze Bruun and Kristoffer Hyldig

The American Modern Opera Company is a multi-disciplinary collective of some of America's keenest talents in the fields of music, dance, theater, writing, producing and composing. They are also the first interdisciplinary group to lead the Ojai Music Festival as Music Director. They are led by artistic directors Matthew Aucoin and Zack Winokur. Winokur and Davone Tines, baritone-bass singer, join the podcast to talk about their ambitious plans for this year's festival. Some members of the collective are already familiar with Ojai, such as violinist Miranda Cuckson, soprano Julia Bullock, who, with Tines, will stage a full production of Olivier Messaien's song cycle "Harawi." AMOC will also introduce new artists to the Festival, including Julius Eastman, whose gifts for composing, vocals, piano and dance had often been neglected. Eastman was proudly gay at a time in the conservative classical world culture, and his gifts we talk about at length. The festival is also producing works by another neglected artist, Connie Converse, who is credited for pioneering the singer-songwriter tradition. We talk about how and why truly outstanding artists are often neglected and forgotten in their own time, and the festival's role in bringing them back into the spotlight. Another line of conversation is AMOC's similarities in spirit to Black Mountain College, which included Ojai-favorite composer John Cage, modern dancer and choreographer Merce Cunningham and visual artists Robert Rauschenberg and Jasper Johns. AMOC has just won a $750,000 grant from the Andrew K. Mellon Foundation, and we talk about what they plan to do with the money, as well as what an affirming moment is was for the collective, founded in 2017.

The brilliant choreographer and educator mayfield brooks reunites with Roger after their time together in graduate school at Northwestern, ready to discuss everything that brought them together and bonded them in Chicago. We learn all about how mayfield explored dance in their childhood, and we hear a powerful story about the formative experience when mayfield was unjustly arrested, which then inspired them to eventually found their landmark interdisciplinary dance project, Improvising While Black. What follows is a powerful conversation about how to further the legacy of compassionate education and community within teaching environments. Plus, it's a Tale of Two Joannes, when we have a Joanne revelation like no other! Go on Instagram to follow mayfield at @mayfieldbrookz, plus learn everything you can about the folx highlighted in this week's Gayborhood Watch: composer Julius Eastman, civil rights activist Marsha P. Johnson, and poet June Jordan. And don't forget to follow @rogerq.mason, @lovell.holder, @miachanger, and @dgonzalezmusic on Instagram for all your Gayborhood updates!

Composer Julius Eastman's personal philosophy was “to be what I am to the fullest. Black to the fullest, a musician to the fullest, and a homosexual to the fullest.” Find out more about his brilliant, beautiful and challenging life in the latest episode of the 'Rhapsody in Black' podcast.

TRIGGER WARNING: This week on Relative Pitch, we get real. In Season 2 Episode 20, we discuss the double edged sword of commissions, discomfort in musical spaces, and composer Julius Eastman and his most controversial works. There are some explicit/derogatory words used within our discussions but more importantly are the depth of conversations we have. Make sure to tune in.--SOCIALS:Facebook: www.facebook.com/relativepitchpodcastInstagram: www.instagram.com/relativepitch_Twitter: www.twitter.com/relativepitch_Spotify: https://open.spotify.com/show/7sIViEIbMcgjb3w4gsydQNApple Music: https://podcasts.apple.com/us/podcast/relative-pitch/id1534509637 Website: relativepitchpodcast.com

This is the second part of my final episode of Black History Month 2022, continuing the exploration of the legacies of more than two dozen mostly underrecorded African American artists. Each piece of this aural mosaic fills in gaps in the recorded history of these artists. After opening memorial tributes to Josephine Veasey, Antonietta Stella, and Betty Davis, the episode is broken into several sections: first, recordings of Baroque music by Aubrey Pankey, Carmen Balthrop, Adele Addison, Betty Allen, Seth McCoy, Marvin Hayes, and a rare live recording by Marian Anderson, whose 125th birthday was observed this past week. There follow recordings of concert repertoire sung by Dorothy Maynor, Louise Parker, and Grace de la Cruz, with William Pearson and Julius Eastman leading us briefly into the bizarre world of the extended vocal techniques of the 1960s. There follow recorded performances of art song by Helen Colbert, Rhea Jackson, John Riley, Clamma Dale, Ellabelle Davis, Marvis Martin, and Cynthia Haymon, whereupon the episode concludes with some rare performances of operatic repertoire with Gwendolyn Killebrew, Claudia Lindsey, Dagmar Průšová, and Gwendolyn Walters, capped by an exquisite a cappella performance of “A City Called Heaven” by the great Mattiwilda Dobbs. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

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Brought to you by "Evil Nigger" by Julius Eastman. Originally aired on Montez Press Radio 10/29/20