Podcast appearances and mentions of vince aletti

The day has finally come: after 79 episodes of Love is the Message, it's time to talk Travolta. Saturday Night Fever was always coming down the pipe for us, and now we're giving it the LITM treatment.In this episode, Tim and Jeremy establish some of the pre-history to the seminal 1977 film. With musical examples drawn from Vince Aletti's Disco Files playlists, we hear about the rise of the suburbs in the USA, the dynamics between the different boroughs of mid-70s NYC, and consider the suburban disco scene. We ask again what makes disco disco, revisit the Hustle, tune up the Salsoul Orchestra and take a trip to a disco conference.Of course, it wouldn't be Saturday Night Fever without the Bee Gees: often-derided and much-mocked but one of the highest selling bands of all time, it was their music which provided the soundtrack to the film. Are they a guilty pleasure? Listen along to find out.Produced by Matt Huxley.We are now on Youtube! Find series 6 here: https://www.youtube.com/@LITMPodcastRemember, we have a rolling playlist of all the tracks discussed over on Spotify: ⁠https://open.spotify.com/playlist/3ZpKyqhvhOXfTuPMHCBkFs⁠Tracklist:Carl Douglas - Blue Eyed Soul Gloria Scott - Just as Long as We're Together Babe Ruth - Elusive Tina Charles - Disco Fever Joe Bataan - The Bottle Van McCoy - The Hustle Salsoul Orchestra - The Salsoul Hustle Bee Gees - Spicks and Specks Bee Gees - Massachusetts Bee Gees - Jive Talkin' Bee Gees - You Should be Dancing

Welcome to another hour of disco, mixed with love in London. And 40 years ago this month Wham! released "Everything she wants" which starts this set with with the authentically updated Dolls Combers Tribute Remix. As far as we know George Michael did everything himself on the original, playing all the instruments and singing all the vocals, so technically it's not a Wham! track at all. Other tracks featured in this mix are are Larry Funk's "Together", Nicole's "Rock the house", A-Trak's "Like I said" (which I might have changed a bit ;-), Stephane Deschezeaux, and DJ B1's "Lovin' you" along with some delicious edits of chunky disco treats. Enjoy! XX F*Here's the full track list:1 | Wham! | Everything she wants (Dolls Combers Tribute Remix)2 | Bee Gees | Night fever (S. Nolla & Dr. Parellada Unreleased Mix)3 | Queen and Gino Soccio | Try it out (David Kust Bites The Dust Remix)4 | Change | Change of heart (Fingerman's Extended Edit)5 | The Whispers | And the beat goes on (Marcus Bootleg)6 | Franki Valli | Grease (S R Edits Rework)7 | Larry Funk | Together (Original Mix)8 | Nicole | Rock the house (Michael Gray Vocal Extended Remix)9 | A-Trak | Like I said (F*Monday Bootleg)10 | Ron Carroll | Soul train (R C's Re-Edit)11 | Stephane Deschezeaux, DJ B1 | Lovin' you (Original Mix)12 | Aretha Franklin | Get it right (Ced ReWork)And here's a link to the Spotify playlist. Some of the edits and remixes I've used may not be widely available.For a while I've been thinking about creating a history of disco mix, picking out some of the great tracks that symbolise the disco era. Meanwhile I recommend listening to Steve Greenberg's podcast "Speed of sound".  Four of his podcast's episodes take you on a fascinating musical journey from Nazi occupied Paris to disco dominating American Top 40 radio. Definitely worth downloading.And if you want more, subscribe to Discodave's Spotify playlist, The Disco Files 1970-78, which includes all the tracks he could find from Vince Aletti's book "The Disco Files". 

Welcome to another hour of disco fun, mixed for you with love in London.This month's mix includes hot tracks from Angelo Ferreri, Risk Assessment, and Adri Block, plus some disco classics from Diana Ross, Michael Jackson, and The Duprees.  Enjoy!  xx f*Here's the full track listing:1 | Angelo Ferreri | Funky lovers2 | Risk Assessment | Delicious (Original Mix)3 | Suzanne Vega | Tom's diner (Jerry Ropero Classic Disco Remix)4 | Adri Block | To be real (Nudisco Clubmix)5 | Freemasons featuring Michael Jackson | Remember the shine (Mark Loasby Mash Up)6 | Diskobar | Rainbow (Original Mix)7 | Michael Jackson | Don't stop til you get enough (Skinner & Bracks M J Booty Remix)8 | Chic featuring Sugarhill Gang | Good Times vs Rappers Delight (Jet Boot Jack Remix)9 | The Duprees | Delicious (Funkdamento Edit)10 | Diana Ross | No-one gets the prize (Pete Le Freq Refreq)11 | Mariah Carey | Make it happen (Jeremy's Poolside Edit)12 | Adam Ten, Rhye | 3 days later (Extended)13 | Veggi, Daste | Up, down, bounceHere's a link to the Spotify playlist. Some of the edits and remixes I've used may not be widely available.For a while I've been thinking about creating a history of disco mix, picking out some of the great tracks that symbolise the disco era. Meanwhile I recommend listening to Steve Greenberg's podcast "Speed of sound".  Four of his podcast's episodes take you on a fascinating musical journey from Nazi occupied Paris to disco dominating American Top 40 radio. Definitely worth downloading. And if you want more, subscribe to Discodave's Spotify playlist, The Disco Files 1970-78, which includes all the tracks he could find from Vince Aletti's book "The Disco Files". 

What a Creep“Disco Demolition Night: July 12, 1979”Season 20, Episode 1Margo and Sonia put on our boogie shoes and prepare to call bull shit on all of the excuses given for “Disco Demolition Night” on Thursday, July 12, 1979, at Comiskey Park in Chicago, IL. A group of boring, racist, sexist, and homophobic idiots decided disco music had been popular for too long. For fun, Chicago shock jock Steve Dahl created a stunt to destroy LPs on the field of a White Sox & Detroit Tigers game! Mayhem ensued due to the hyped (and hopped) up a crowd of meatheads who had decided that things like Saturday Night Fever, partner dancing, and people who were not “musicians” should have any success, much less a part of pop culture. All of this disco fuss (which coincided with Anita Bryant's gay bashing on the news every night) makes us realize that fighting pop culture “wars” is a sad, furious (and deeply stupid)tale as old as time. We have THOUGHTS about this one! Sources for this episodeWikipediaEDM.comThe Guardian1979 News Coverage YouTubeESPN story on Disco Demolition NightWeird HistoryA variety of clips of local news coverage in 1979Black Girl Culture BlogHBO The Bee Gees: How Do You Mend a Broken HeartCape Symphony “How to Disco Begin?”CNN Opinion Ad Campaigns Should be InclusiveVox: The Bud Light BoycottFox News: Sarah Huckabee Sanders “trolls” Bud Light with beer koozies featuring “Real Women” Art & Pop Culture: The first reporting about “disco” by Vince Aletti, Rolling Stone, September 13, 1973 http://artandpopularculture.com/Discotheque_rock_%2773:_Paaaaarty%21Be sure to follow us on social media. But don't follow us too closely … don't be a creep about it!Subscribe to us on Apple PodcastsTwitter: https://twitter.com/CreepPod @CreepPodFacebook: Join the private group!Instagram @WhatACreepPodcastVisit our Patreon page: https://www.patreon.com/whatacreepEmail: WhatACreepPodcast@gmail.comWe've got merch here! https://whatacreeppodcast.threadless.com/#Our website is www.whatacreeppodcast.comOur logo was created by Claudia Gomez-Rodriguez. Follow her on Instagram @ClaudInCloud

February 2023 marked the 20th anniversary of photographer Ryan McGinley's seminal exhibition “The Kids Are Alright” at the Whitney Museum of American Art, which ran from February through May 2003. It was the 26-year-old's solo exhibition debut, and the 20 photographs captured a particular place and time in New York City, in the shadow of September 11th, 2001 and the AIDS crisis; before the invention of Instagram and TikTok. It wasn't just the latest downtown-meets-uptown youthquake salvo that reverberated around in the art world, but a photo exhibition that made McGinley a bona fide, post-millennial star—and shifted the culture. At that time the Whitney was still in its Upper East Side location and “The Kids Are Alright” was the most talked about photo show at the museum since Nan Goldin's exhibition “I'll Be Your Mirror” in 1996. Overnight, Ryan became the superstar art photographer of his generation, documenting his decadent world. After him, this bohemian lineage basically slams shut with the onset of social media. This week, the Art Angle presents an oral history of the exhibition and its influence featuring Artnet News style editor William Van Meter in conversation with McGinley himself, as well as artists Marc Hundley and Jack Walls; photography critic Vince Aletti, and the show's original curator Sylvia Wolf.

February 2023 marked the 20th anniversary of photographer Ryan McGinley's seminal exhibition “The Kids Are Alright” at the Whitney Museum of American Art, which ran from February through May 2003. It was the 26-year-old's solo exhibition debut, and the 20 photographs captured a particular place and time in New York City, in the shadow of September 11th, 2001 and the AIDS crisis; before the invention of Instagram and TikTok. It wasn't just the latest downtown-meets-uptown youthquake salvo that reverberated around in the art world, but a photo exhibition that made McGinley a bona fide, post-millennial star—and shifted the culture. At that time the Whitney was still in its Upper East Side location and “The Kids Are Alright” was the most talked about photo show at the museum since Nan Goldin's exhibition “I'll Be Your Mirror” in 1996. Overnight, Ryan became the superstar art photographer of his generation, documenting his decadent world. After him, this bohemian lineage basically slams shut with the onset of social media. This week, the Art Angle presents an oral history of the exhibition and its influence featuring Artnet News style editor William Van Meter in conversation with McGinley himself, as well as artists Marc Hundley and Jack Walls; photography critic Vince Aletti, and the show's original curator Sylvia Wolf.

The Drawer is a visual autobiography of Aletti's deep canon of inspiration, experience and multi-media obsessions collected over five decades. Created and captured in a single day, each collage is a flurry of free association. This book animates his refined sense of composition, eclectic juxtaposition of image and text and chronicles the tectonic shifts of art and visual culture.In this conversation, Vince discusses, among other things:The intentionality of the photographer Intuitive arrangements between images—in both exhibition and book formUnselfconscious coupling of imageryArt informing how we thinkMagazine cultureSubversionAdvertising driving editorialUndermining narrativesHow to make a life in photography Fun or nothingBeing the Bill Cunningham of contemporary photography Referenced in the episodeIssues: A History of Photography in Fashion Magazines by Vince AlettiC/O BerlinSPBHSchool of Visual Arts, NYCLillian BassmanJudith Joy RossPeter HujarTrue Homosexual Experiences: Boyd McDonald and Straight to HellDawoud BeyThe Moon Is Behind Us by Fazal SheikhAdam FussLeslie-Lohman Gay Art FoundationDashwood BooksPublished by Self Publish Be HappyVince's InstagramSign-Up for Email Newsletter for Got Punctum? News and Other HappeningsEngage with J. Sybylla Smith Instagram and Facebook

Revivez le I Love Disco avec Fabrice de Rotrou episode 51 spécial The Disco Files (Vince Aletti) Vol.6 du dimanche 20 novembre 2022

Revivez le podcast d'I Love Disco avec Fabrice de Rotrou episode 41 spécial The Disco Files (Vince Aletti) Vol.5 du dimanche 11 septembre 2022

Revivez le podcast d'I Love Disco avec Fabrice de Rotrou episode 40 spécial The Disco Files (Vince Aletti) Vol.4 du dimanche 4 septembre 2022

Revivez le podcast d'I Love Disco avec Fabrice de Rotrou episode 39 spécial The Disco Files (Vince Aletti) Vol.3 du dimanche 31 juillet 2022

Revivez le podcast d'I Love Disco avec Fabrice de Rotrou episode 37 spécial Disco Files (Vince Aletti) Vol.1 du dimanche 17 juillet 2022 Tracklist Bt Express    Express BT Express    Do It BT Express    That's What I Want For You Baby Average White Band    Pick Up The Pieces Barry White    You're The First, The Last, My Everything BB King    Philadelphia Bohannon    South African Man Carl Carlton    Everlasting Love Carol Douglas    Doctor's Orders Commodores     I Feel Sanctified Ecstasy, Passion & Pain    Ask Me Fatback Band    Wicki-Wacky First Choice    The Player First Choice    Guilty First Choice    Hustler Bill Gloria Gaynor    Never Can Say Goodbye Jimmy Ruffin    Tell Me What You Want LaBelle    Lady Marmelade LaBelle    What Can I Do For You Lyn Collins    Rock Me gain People's Choice    Party Is A Groovy Thing The Hues Corporation    Rockin' Soul The Isley Brothers    Live It Up The Jonese    Sugarr Pie Guy The Modulations    I Can't Fight Your Love The Rimshots    Who's Got The Monster The Stylistics    Hey There Lonely Girl 

During the summer of 1976, Cory Daye‘s voice wafted through the bamboo forests of New York's Fire Island like an intoxicating fragrance. As the lead vocalist and co-founder of Dr. Buzzard's Original Savannah Band, she beckoned the island's dwellers to untold pleasures while the group's self-titled debut stirred dancers into sweaty, salty abandon. Boardwalks seldom pulsed with such a bewitching beat.Fire Island was worlds away from the South Bronx where Daye first met composer/arranger Stony Browder, Jr. (guitar/piano) and his brother, lyricist August Darnell (bass). Drummer Mickey Sevilla and vibe master “Sugar Coated” Andy Hernandez (aka Coati Mundi) helped crystallize the group's musical aesthetic, which had morphed from R&B into a blend of big band, soul, Latin, jazz, dance, and pop. Produced by Four Seasons tunesmith Sandy Linzer, Dr. Buzzard's Original Savannah Band (1976) brought the grandeur of swing-era bandstands to the discotheque, melding wry social commentary with classic Hollywood romanticism. “Everybody's favorite album is Dr. Buzzard's Original Savannah Band on RCA,” critic Vince Aletti wrote in his “Disco File” column for Record World. “It's this summer's major surprise hit not only because three cuts are eminently danceable (‘Sour and Sweet', ‘Cherchez La Femme', and ‘I'll Play the Fool'), but because the group's fabulously eclectic sound — drawing on several decades of American pop music from big band jazz to doo-wop soul to sophisticated disco, full of sly musical quotes — is so fresh and appealing” (7 August 1976).Aletti would later declare Dr. Buzzard's Original Savannah Band the “Most Essential Disco Album of 1976”, while the Los Angeles Times named Savannah Band “the hottest disco act in the country” (26 November 1976). Even Aletti's peers in the rock press cheered the group's arrival. “It's a pleasure to admit that their music is a fresh pop hybrid with its own rhythmic integrity, and that its sophistication is a lot brighter and more lively than most of the organic bullshit making it to the rock stage in the mid-'70s,” Robert Christgau noted in the Village Voice.Rolling Stone published its own rave review of Savannah Band's debut. “The highest moments introduce a genuinely surrealistic disco whose adventurous use of bitonality and electronic sound effects stands in absolute contrast to the recent disco market's cynical prefabrication of oldies,” wrote Stephen Holden. “‘I'll Play the Fool', ‘Cherchez La Femme', and especially ‘Sour and Sweet', are group originals that literally explode the genre with their brittle scintillating audacity” (23 September 1976).With a sound that signaled disco's penchant for innovation, Dr. Buzzard's Original Savannah Band supplanted the Bee Gees' “You Should Be Dancing” from number one on Billboard‘s “National Disco Action Top 30” in October 1976. A month later, “Cherchez La Femme” debuted on the Hot 100 where it would peak at #27 and introduce one of the era's most indelible opening lines — “Tommy Mottola lives on the road” — to the airwaves. The album itself was certified gold and earned the group a GRAMMY nomination for “Best New Artist”.In '79 Cory Daye released her solo album, “Cory and Me”. Rolling Stone, November '79 - Cory delivers a vocal performance that's direct and elusive, girlishly simple and musically sophisticated, sexy without being huff-and-puffy.   When Daye makes her entrance in any song, it's like the sun breaking through a bank of dark clouds. Paired again with producer-extraordinaire Sandy Linzer, singles “Single Again”, “A Wiggle and A Giggle” and the thumping “Pow Wow” will Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

Ritorna “Note sulle note”, il programma musicale settimanale, nel quale annoto per voi piccoli appunti prima di lasciarvi ai brani scelti, che di puntata in puntata andiamo a conoscere. Questo è il nostro venticinquesimo incontro, dedicato alla musica da discoteca, ovvero la “Disco Music”. Il termina deriva da Discotheque: in francese significa libreria di dischi fonografici; ma in seguito usato come nome proprio per i night club di Parigi. A causa delle restrizioni degli anni '40, nella Francia occupata dai nazisti, le sale da ballo di Jazz diffondevano registrazioni, invece di utilizzare musica dal vivo. Alla fine della guerra, questi luoghi presero il nome di “Discoteque”. Nel 1959 il termine fu usato a Parigi per descrivere qualsivoglia tipologia di locali notturni. L'anno successivo la parola venne usata negli Stati Uniti per indicare i club dove si mettevano i dischi e il tipo di ballo specifico di quelle sale. Il primo articolo sulla Disco fu scritto nel settembre 1973 da Vince Aletti, per la rivista Rolling Stone, e nel 1974 una radio di New York (la Wpix - Fm) mandò in onda in anteprima il primo programma radiofonico dedicato alla Disco Music. È un genere musicale nato da Funk, Soul, Musica latina e musica psichedelica, assemblato con elementi di Swing e di Musica afroamericana, popolarissimo negli anni '70 e inizio '80 negli Usa. La Discomusic fu anche una reazione al dominio del Rock. Film come “La Febbre del Sabato Sera” e “Grazie a Dio è Venerdì” contribuirono al successo mondiale di questo genere. La sua popolarità diminuì negli anni '80. Il termine “Disco” divenne fuori moda, e nel nuovo decennio la parola fu sostituita da “Dance Music”, “Dance Pop” ed altri generi influenzati dalla musica elettronica. Le discoteche, comunque, sono rimaste luoghi popolari. Un risveglio della “Disco” si registra nel 2005 con Madonna, e nel 2013 con Justin Timberlake e Bruno Mars, i quali hanno scalato le classifiche Pop in Inghilterra e negli Usa. Ascolteremo: We are family (Sister Sledge), Bailando(Tener Contigo con Descemer Bueno), Walk like an egyptian (Bangles), I Wont it that way (Backstreet Boys), The Rythm of the Night (Corona), Belive(Chere), Don't let the sun go down on me (George Michael), Ico Ico (Justin Wellington con Small Jam), Turn me on (Kavin Little), La Camisa Negra (Juanes), Straight Up (Paula Abdul), Cheri Cheri Funk (Modern Talking, con Mark Ronson e Bruno Mars), Jump(Madonna). Buon ascolto da Lorella Turchetto Michieli. --- Support this podcast: https://anchor.fm/radio-nostra/support

GMD is a show on Cruise FM celebrating seventies music ...disco and Jazz Funk

The American photographer Peter Hujar came to recognition for his gritty, tough and glamorous black and white images of the downtown New York scene taken during the 1970s and 80s. Until his untimely death from AIDS in 1987, he was a key player in the group of artists, musicians, writers, and performers who made the city so compelling at this time, and he left behind a complex and profound body of work that has become posthumously celebrated. Ahead of a show of his work at Maureen Paley in London, Danielle speaks to gallery owner Maureen Paley and also to the writer and photography critic Vince Aletti, who was Peter’s close friend, neighbour, fellow-party goer, and portrait sitter. Image: Peter Hujar Fran Lebowitz (at Home in Morristown), 1974 © 1987 The Peter Hujar Archive LLC, courtesy Maureen Paley, London and The Peter Hujar Archive

GMD is a show on Cruise FM celebrating seventies music ...disco and Jazz Funk

GMD is a show on Cruise FM celebrating seventies music ...disco and Jazz Funk

GMD is a show on Cruise FM celebrating seventies music ...disco and Jazz Funk

GMD is a show on Cruise FM celebrating seventies music ...disco and Jazz Funk

GMD is a show on Cruise FM celebrating seventies music ...disco and Jazz Funk

GMD is a show on Cruise FM celebrating seventies music ...disco and Jazz Funk

GMD is a show on Cruise FM celebrating seventies music ...disco and Jazz Funk

GMD is a show on Cruise FM celebrating seventies music ...disco and Jazz Funk

"In classes it was always, oh the road represents ultimate freedom, exuberance, the American dream…I just kept thinking, wait a minute, this doesn't line up for me." For nearly a century, the American road trip has been closely associated with the American dream. The open road is where millions of Americans freely set out to explore the country's beauty, epic landscapes, and diversity of cultures. For a country that claims to be a free and democratic land without roadblocks, the road trip has been and continues to be a fraught endeavor for Black people. With this project, Willett exposes the cracks of this ideal version of American society, pointing out that historically the road represents a collective site of trauma for the Black community. Amani Willett is a Brooklyn and Boston-based photographer whose practice is driven by conceptual ideas surrounding family, history, memory, and the social environment. Working primarily with the book form, his two monographs have been published to widespread critical acclaim. Both books, Disquiet (Damiani, 2013) and The Disappearance of Joseph Plummer (Overlapse, 2017), were selected by Photo-Eye as “best books” of the year and have been highlighted in over 50 publications including Photograph Magazine, PDN, Hyperallergic, Lensculture, New York Magazine and 1000 Words and recommended by Todd Hido, Elisabeth Biondi (former Visuals Editor of The New Yorker), Vince Aletti and Joerg Colberg (Conscientious), among others. Amani's photographs are also featured in the books Bystander: A History of Street Photography (2017 edition, Laurence King Publishing), Street Photography Now (Thames and Hudson), New York: In Color (Abrams), and have been published widely in places including American Photography, Newsweek, Harper's, The Huffington Post, The New York Times, The New York Times Magazine and The New York Review of Books. His work resides in the collections of the Tate Modern, The Museum of Fine Arts, Boston, The Sir Elton John Photography Collection, The Museum of Fine Arts, Houston, Oxford University, and Harvard University, among others. Amani completed an MFA in Photography, Video and Related Media from the School of Visual Arts, NY in 2012 and a BA from Wesleyan University in 1997. In addition to his artistic practice, Amani is an Assistant Professor of Photography at the Massachusetts College of Art and Design in Boston. https://www.amaniwillett.com/ This episode is sponsored by the Charcoal Book Club, a monthly subscription service for photobook enthusiasts. Working with the most respected names in contemporary photography, Charcoal selects and delivers essential photobooks to a worldwide community of collectors. Each month, members receive a signed, first-edition monograph and an exclusive print to add to their collections. www.charcoalbookclub.com

Vince Aletti has been writing and reporting on culture for over 50 years. He was the first person to write about disco for Rolling Stone in the early 70’s, he worked as a senior-editor for the Village Voice for over twenty years and was the photo critic for the New Yorker until 2016. In this episode, Jordan Weitzman sits down with Aletti at his storied, book and art filled east village apartment to talk about it all. See acast.com/privacy for privacy and opt-out information.

It’s hard to believe that another year of the B&H Photography Podcast is on the books and, as has become our way, we close out the year with a casual conversation about our most memorable episodes from 2019. But before we get started, a recent count showed that we have listeners in all but 15 countries. To us, that’s remarkable, and we’d like to offer a very heartfelt thank you and best wishes for a happy holiday season to all our listeners around the world. We look forward to your feedback and suggestions for photography conversations in 2020. Allan Weitz starts off today’s show with a few of his favorite 2019 episodes, including our talk with photographer Stephen Mallon, who documented the recovery of Flight 1549—referred to as the “Miracle on the Hudson”—from the icy waters of the Hudson River after its forced landing in January 2009. On that episode, we welcomed Denise Lockie, a passenger on that flight. Allan also mentions our conversations with Albert Watson and Vince Aletti as favorites and our chats on car photography with Nate Hassler and on D.I.Y. camera makers. For his part, Jason Tables starts his list with our episode on storm chasing and extreme-weather photography as a favorite. He also recalls “The Copyright Infringement Superhighway” with attorney David Deal, our talk with photographer Corinne May Botz on her series “Milk Factory,” and our hilarious and insightful conversation with portraitist Mark Mann. John Harris begins with some of the 2019 episodes that performed best in terms of number of downloads, some of which surprised us. He also discusses a few of his favorites episodes, including “Conflict Photography—Motivation and Consequence.” Other memorable episodes he mentions are “Commitment to Community—Rhynna Santos, Michael Young, and the Bronx Documentary Center,” our talks with rock photographer Mick Rock and photojournalist Shahidul Alam, and, of course, our conversation with actor and photographer Jeff Bridges.  Enjoy our casual end-of-the-year chat, subscribe to the B&H Photography Podcast on Apple Podcasts, join our Facebook group, and have yourself a happy new year.  Photograph © Jason Tawiah

On this week’s episode of the B&H Photography Podcast, we welcome a true photography legend—curator, critic, and author, Vince Aletti.  Anyone who lived in New York in the 1980s and ’90s, and is interested in photography, will know of Aletti as the photography critic at the Village Voice. He went on to review photo exhibitions at The New Yorker until 2016. He has also curated exhibitions at the International Center of Photography and White Columns gallery, and has authored many books, including his latest, Issues: A History of Photography in Fashion Magazines, which he joins us to discuss. In addition to his writing and curating, Aletti is a collector, and has created a collection of the most important issues of fashion magazines from the past 100 years. The book, Issues, employs that collection to offer a history of fashion photography as it was meant to be viewed—in magazines, and our conversation focuses on the context of the magazine as “the ideal delivery system” for the best photography of several generations. We discuss the beginning of fashion magazines and introduction of photography to that format and we spend time discussing the work of Richard Avedon, Irving Penn, and Steven Meisel by looking at issues of magazines for which they were the primary, if not sole, photographer. The production of these magazines—Harper’s Bazaar, Vogue Italia, The Face, for example—are mentioned, as are the creative directors, editors, and stylists, but the point of this enlightening conversation (and Aletti’s book) is how great photographers have used the specific format of the fashion magazine for their ground-breaking and ever-evolving images. Today also marks the beginning of the B&H Photography Podcast Panasonic LUMIX S1 Sweepstakes.  Follow the above link for the rules and entry guidelines and you’ll have two chances to win a new Panasonic LUMIX DC-S1 Full-Frame Mirrorless digital camera with 24-105mm lens or a Panasonic LUMIX DC-G95 Mirrorless digital camera with 12-60mm lens. Also, look for the upcoming special episode of our podcast with Panasonic Lumix Global Ambassador Shiv Verma. Guest: Vince Aletti Photograph by Erwin Blumenfeld. Courtesy Vince Aletti and Phaidon 

Vince Aletti discusses his new book on photography in fashion magazines. Plus: Calum Jacobs, founder of ‘Caricom’, a magazine about football and black culture, and Nikki Simpson from International Magazine Centre.

Jeremy Leslie and Liv Siddall discuss how magazines parody the format, with a look at the recent ninth issue of Buffalo Zine and its ten parody cover designs. We look back at Joseph Ernst's wonderful Naked Woman Covered in Glitter, and Words and hear from Claire Milbraith about Editorial Magazine's new mascot (itself a form of parody). There's also a look at a bunch of recent arrivals including The South London Review of Hand Dryers, Failed States and Gusher, plus Vince Aletti's fabulous book of fashion magazine photography ‘Issues'. The magCulture Podcast is supported by Park Communications – thank you! Production and editing by Lucy Dearlove.

This hour more of our faves, including Gloria Gaynor, a seventeen year-old retiree, and two spoofs: one microbiological and one murderous.Episode 1: A Perfect Murder by Katy Yeiser, David Sidorov, Ryan Natoli, and Fran Hoepfner for A Very Fatal Murder from The Onion In the first episode of “A Very Fatal Murder,” longtime Onion Public Radio reporter David Pascall, who has searched tirelessly for the most resonant true-crime podcast that is also about middle America, heads to Bluff Springs, NE where the small town is reeling from the death of 17-year-old Hayley Price.Toccata by Mira Burt-Wintonik & Cristal Duhaime feat. the voice of Jane Lewis for Falling Tree Productions and The Essay from BBC Radio 3 Canadian producers Mira Burt-Wintonick and Cristal Duhaime blend reality and fiction to explore a parasitic relationship.Dear Dream by Jess Shane for The Doc Project from the CBC A lot of us define ourselves by our jobs. Which is why people often struggle when the time comes to retire. They don't know who they are any more. And we're not just talking about people who stop working after a lifetime in a career — the girl at the heart of this documentary is 17. She retired from a promising rhythmic gymnastics career — she was competing at a national level and was Olympics-bound — about a year ago because of an injury. And retirement? She still hasn't accepted it.“Inside the National Recording Registry: I Will Survive” by Devon Strolovitch for PRI’s Studio360 Originally released as a B-side, so many deejays began playing Gloria Gaynor's “I Will Survive” that the record company reissued it as a single. It was immediately embraced as an emblem of women’s empowerment and soon became anthem among the LGBT community and survivors of all kinds. Music writer Vince Aletti joins Gaynor herself to tell the story of the recording.This episode of Re:sound was produced by Dennis Funk See acast.com/privacy for privacy and opt-out information.

It was a true honour to meet with Rosalind Fox Solomon, just a few days shy of her 88th birthday. It’s often noted how she came to photography later than most when she was close to 40, but i couldn’t help think more about how long she’s kept it up for. How long she’s stuck with it. In her 80’s, she has has continued to make photographs, and strong ones at that. When we met, she served black coffee and showed me her old darkroom. The way in which she printed was always of great importance, she told me. An exhibition poster hung from a solo show at Moma in 1986, but that’s just tip of the iceberg. The breadth of her work is enormous. It’s held in over 50 museums around the world, has been the subject of 30 solo shows, and appears in 11 monographs, most recently, Got to Go with Mack. She has always photographed both at home and abroad making pictures of people suffering from AIDS during the crisis in New York to Israeli’s and Palestine’s in the West Bank just a few years ago. Vince Aletti said that he’s thought of her as an intrepid explorer, who brings back these pictures that are not necessarily easy to look, but has a lot to do with what makes them so powerful. She’s happy to disturb us. See acast.com/privacy for privacy and opt-out information.

Jonathan Lethem and Kevin Dettmar's Shake It Up invites the reader into the tumult and excitement of the rock revolution through fifty landmark pieces by a supergroup of writers on rock in all its variety, from heavy metal to disco, punk to hip-hop. Stanley Booth describes a recording session with Otis Redding; Ellen Willis traces the meteoric career of Janis Joplin; Ellen Sander recalls the chaotic world of Led Zeppelin on tour; Nick Tosches etches a portrait of the young Jerry Lee Lewis; Eve Babitz remembers Jim Morrison. Alongside are Lenny Kaye on acapella and Greg Tate on hip-hop, Vince Aletti on disco and Gerald Early on Motown; Lester Bangs on Elvis Presley, Robert Christgau on Prince, Nelson George on Marvin Gaye, Nat Hentoff on Bob Dylan, Hilton Als on Michael Jackson, Anthony DeCurtis on the Rolling Stones, Kelefa Sanneh on Jay Z. The story this anthology tells is an ongoing one: “It’s too early,” editors Jonathan Lethem and Kevin Dettmar note, “for canon formation in a field so marvelously volatile—a volatility that mirrors, still, that of pop music itself, which remains smokestack lightning. The writing here attempts to catch some in a bottle.” Martin’s interview with Jonathan Lethem and Kevin Dettmar was originally recorded June 7, 2017.

Helen Ennis, director, Centre for Art History and Art Theory, Australian National University School of Art At first glance it might seem that art museums and galleries in Australia have opened themselves up to different kinds of photographies in recent decades. There have been important exhibitions involving anthropological, fashion, forensic and vernacular photographs to name some of the most obvious. But how free is the flow of historical and contemporary photographs into art museums and galleries? What kinds of photographs are being collected and exhibited? Why, for example, are anthropological photographs from the nineteenth century widely collected but those from the present are not? This paper argues that there are some significant blockages affecting the traffic of photographs into institutions that predate the arrival of digital photography and the internet. These blockages have their origins in the 1970s and 1980s when photography was being legitimised and institutionalised in many parts of the world. Ennis draws on her curatorial practice at the National Gallery of Australia and her own role in what Vince Aletti has described as the institutionalised and categorical delimiting of photography. While such efforts were undertaken in good faith by historians and curators of photography they belonged to a particular historical moment whose distortions are still with us, arresting the flow of vibrant, compelling photographs and blocking the view of photography’s extraordinary polymorphousness.

Disco is a genre of music that was popular in the 1970s, though it has since enjoyed brief resurgences including the present day.[10] The term is derived from discothèque (French for "library of phonograph records", but subsequently used as proper name for nightclubs in Paris[11]). Its initial audiences were club-goers from the African American, GLBTQ,[nb 1] Italian American, Latino, and psychedelic communities in New York City and Philadelphia during the late 1960s and early 1970s. Disco also was a reaction against both the domination of rock music and the stigmatization of dance music by the counterculture during this period. Women embraced disco as well, and the music eventually expanded to several other popular groups of the time.[12][13][14][15][16][17][18][19] In what is considered a forerunner to disco-style clubs, New York City DJ David Mancuso opened The Loft, a members-only private dance club set in his own home, in February 1970.[20][21] AllMusic claims some have argued that Isaac Hayes and Barry White were playing what would be called disco music as early as 1971. According to the music guide, there is disagreement as to what the first disco song was. Claims have been made for Manu Dibango's "Soul Makossa" (1972), Jerry Butler's "One Night Affair" (1972), the O'Jays' "Love Train" (1972, #1 hit), the Hues Corporation's "Rock the Boat" (1973), and George McCrae's "Rock Your Baby" (1974).[6][22] The first article about disco was written in September 1973 by Vince Aletti for Rolling Stone magazine.[23] In 1974 New York City's WPIX-FM premiered the first disco radio show.[21] Musical influences include funk, Latin, psychedelic and soul music. The disco sound has soaring, often reverberated vocals over a steady "four-on-the-floor" beat, an eighth note (quaver) or 16th note (semi-quaver) hi-hat pattern with an open hi-hat on the off-beat, and a prominent, syncopated electric bass line sometimes consisting of octaves. The Fender Jazz Bass is often associated with disco bass lines, because the instrument itself has a very prominent "voice" in the musical mix. In most disco tracks, strings, horns, electric pianos, and electric guitars create a lush background sound. Orchestral instruments such as the flute are often used for solo melodies, and lead guitar is less frequently used in disco than in rock. Many disco songs employ the use of electronic instruments such as synthesizers. Well-known late 1970s disco performers included ABBA, Donna Summer, The Bee Gees, KC and the Sunshine Band, The Trammps, Van McCoy, Gloria Gaynor, The Village People, Chic, and The Jacksons—the latter of whom first dipped their toes into disco as The Jackson 5. Summer would become the first well-known and most popular disco artist—eventually having the title "The Queen of Disco" bestowed upon her by various critics—and would also play a part in pioneering the electronic sound that later became a prominent element of disco. While performers and singers garnered the lion's share of public attention, producers working behind the scenes played an equal, if not more important role in disco, since they often wrote the songs and created the innovative sounds and production techniques that were part of the "disco sound."[24] Many non-disco artists recorded disco songs at the height of disco's popularity, and films such as Saturday Night Fever and Thank God It's Friday contributed to disco's rise in mainstream popularity. Disco was the last mass popular music movement that was driven by the baby boom generation.[25] Disco music was a worldwide phenomenon, but its popularity declined in the United States in the late 1970s. On July 12, 1979, an anti-disco protest in Chicago called "Disco Demolition Night" had shown that an angry backlash against disco and its culture had emerged in the United States. In the subsequent months and years, many musical acts associated with disco struggled to get airplay on the radio. A few artists still managed to score disco hits in the early 1980s, but the term "disco" became unfashionable in the new decade and was eventually replaced by "dance music", "dance pop", and other identifiers. Although the production techniques have changed, many successful acts since the 1970s have retained the basic disco beat and mentality, and dance clubs have remained popular.[22] A disco revival was seen in 2013, as disco-styled songs by artists like Daft Punk (with Nile Rodgers), Justin Timberlake, Breakbot, Bruno Mars and Robin Thicke filled the pop charts in the UK and the US.[10][26] FOLLOW ME ON INSTAGRAM & TWITTER @DJTOUCHTONE LIKE MY PAGE ON FACEBOOK: DJ TOUCH TONE GOOGLE+ ME: TOUCH TONE MY YOUTUBE CHANNEL: TOUCHTONEREMIXES EMAIL ME FOR GIGS: INFO@DJTOUCHTONE.ORG CALL FOR BOOKINGS: (516) 855-7349