View allAll Photos Tagged Sound
SIC Manzolino Tivoli, Spring 2014
A gray heron silently moves on the marsh. Despite its huge size is the deafening sound of silence...
Channel One Sound System at Notting Hill Carnival 2013.
I also took a few video clips of them too :)
www.youtube.com/watch?v=3zRrgz2CXKs
www.youtube.com/watch?v=Oxim7HuO4Pc
www.youtube.com/watch?v=6tkDTqJI188
www.youtube.com/watch?v=yrjveLpWlUM
The Cause
The “Sounds of Cohabitations” poster is about the coexistence of 3 different cultures in Ioannina city, which is celebrating this year 100 years since its liberation. (On February 21, 1913).
Through history Ioannina city has been gifted with a multicultural identity. Sometimes peacefully but not always, the Christian, Muslim and Hebrew culture coexisted there and that left the city with byzantine churches, mosques and synagogues along with a multicultural legacy, all of which make this city truly unique.
—
The Concept
Ioannina’s multicultural identity is traced through 36 historical buildings, monuments and boroughs. Mosques, synagogues, churches, inns, public bathrooms and slaughterhouses. Schools and libraries, theaters, even private residencies. Some of them are preserved, others are destroyed, others restored and some are simply forgotten. Some of them make up everyday roundabouts used by the locals in order to navigate and move through the city. Some others have been turned in blocks of flats or parks, having their existence documented only in some inscription or a rare book about the city’s history. However, each of them accommodated stories of different people and cultures. From Brosgos’s tavern, the New York Inn and Aslan Pasa’s Mosque up to Papazoglio Weaving School and Kalou Pasa’s Seraglio, Ioannina is a city full of history which can be “heard” and “read” on the roads of the city itself.
In these same roads where generations of people with different history, culture and habits used to walk. In the same buildings which were built by some, were used by others and were abandoned or destroyed by some others. These buildings and places act as regional conjunctions and cultural mirrors between the residents, thus creating and representing the sounds of their coexistence. From the candidate proclamations in the Averof Hotel, the horses’ neigh from the traveling carts outside Dodoni Inn up to the sounds of the Papazoglio Weaving School, the echoes of the buildings reflect the story of Ioannina. Different sounds, all originating from the same source. Same places for different stories.
—
Check the whole project here: bit.ly/IrOadu
Sound Transit this week welcomed home Ken Cummins, Chief Security Officer, who just returned from a year of duty in Iraq with the National Guard.
Ken carried this Sound Transit flag on all his missions in Iraq. Joni Earl, Sound Transit CEO, presented an executive order on Wednesday, Sept. 2 declaring it Ken Cummins Day at Sound Transit.
9/4
In the movie The Sound of Music, Maria (Julie Andrews) calms the Von Trapp children on a stormy night with the song "My Favorite Things"
Underground Sound 7 at Hogrock Ranch in Cave-In Rock Illinois.
Follow me on Facebook.
©Notley Hawkins
The Cause
The “Sounds of Cohabitations” poster is about the coexistence of 3 different cultures in Ioannina city, which is celebrating this year 100 years since its liberation. (On February 21, 1913).
Through history Ioannina city has been gifted with a multicultural identity. Sometimes peacefully but not always, the Christian, Muslim and Hebrew culture coexisted there and that left the city with byzantine churches, mosques and synagogues along with a multicultural legacy, all of which make this city truly unique.
—
The Concept
Ioannina’s multicultural identity is traced through 36 historical buildings, monuments and boroughs. Mosques, synagogues, churches, inns, public bathrooms and slaughterhouses. Schools and libraries, theaters, even private residencies. Some of them are preserved, others are destroyed, others restored and some are simply forgotten. Some of them make up everyday roundabouts used by the locals in order to navigate and move through the city. Some others have been turned in blocks of flats or parks, having their existence documented only in some inscription or a rare book about the city’s history. However, each of them accommodated stories of different people and cultures. From Brosgos’s tavern, the New York Inn and Aslan Pasa’s Mosque up to Papazoglio Weaving School and Kalou Pasa’s Seraglio, Ioannina is a city full of history which can be “heard” and “read” on the roads of the city itself.
In these same roads where generations of people with different history, culture and habits used to walk. In the same buildings which were built by some, were used by others and were abandoned or destroyed by some others. These buildings and places act as regional conjunctions and cultural mirrors between the residents, thus creating and representing the sounds of their coexistence. From the candidate proclamations in the Averof Hotel, the horses’ neigh from the traveling carts outside Dodoni Inn up to the sounds of the Papazoglio Weaving School, the echoes of the buildings reflect the story of Ioannina. Different sounds, all originating from the same source. Same places for different stories.
—
Check the whole project here: bit.ly/IrOadu
The Daily Shoot #ds530
Illustrate a sound in a photograph today.
1 sec. exp; I printed notes on a spiral pathway and put it on moving turntable; but the notes blurred too at that timing!
_mg_1062bfwc
The Cause
The “Sounds of Cohabitations” poster is about the coexistence of 3 different cultures in Ioannina city, which is celebrating this year 100 years since its liberation. (On February 21, 1913).
Through history Ioannina city has been gifted with a multicultural identity. Sometimes peacefully but not always, the Christian, Muslim and Hebrew culture coexisted there and that left the city with byzantine churches, mosques and synagogues along with a multicultural legacy, all of which make this city truly unique.
—
The Concept
Ioannina’s multicultural identity is traced through 36 historical buildings, monuments and boroughs. Mosques, synagogues, churches, inns, public bathrooms and slaughterhouses. Schools and libraries, theaters, even private residencies. Some of them are preserved, others are destroyed, others restored and some are simply forgotten. Some of them make up everyday roundabouts used by the locals in order to navigate and move through the city. Some others have been turned in blocks of flats or parks, having their existence documented only in some inscription or a rare book about the city’s history. However, each of them accommodated stories of different people and cultures. From Brosgos’s tavern, the New York Inn and Aslan Pasa’s Mosque up to Papazoglio Weaving School and Kalou Pasa’s Seraglio, Ioannina is a city full of history which can be “heard” and “read” on the roads of the city itself.
In these same roads where generations of people with different history, culture and habits used to walk. In the same buildings which were built by some, were used by others and were abandoned or destroyed by some others. These buildings and places act as regional conjunctions and cultural mirrors between the residents, thus creating and representing the sounds of their coexistence. From the candidate proclamations in the Averof Hotel, the horses’ neigh from the traveling carts outside Dodoni Inn up to the sounds of the Papazoglio Weaving School, the echoes of the buildings reflect the story of Ioannina. Different sounds, all originating from the same source. Same places for different stories.
—
Check the whole project here: bit.ly/IrOadu
Underground Industries is proud to team up with some new and very talented artists to bring you UNDERGROUND SOUND!
This night will give you a mouthful of awesomesauce & a dancefloor of energy!
BENNY VENOM (California)
Electro | Dubstep | Trap | Moombahton
Benny Venom has been spinning the hardest tracks EDM has had to offer for the past 5 years. He is well known in his hometown for his high energy performances, dirty tracks, and superb mixing ability. Hailing from northern California, he has performed in cities all around his hometown and the bay area including San Francisco, Berkeley, San Jose, Santa Cruz, and Oakland. Though he enjoys spinning tech house and trance, he has earned his name through consistently dropping the freshest in electro, dubstep, and trap for the underground rave scene.
www.facebook.com/pages/Benny-Venom/309715166662
DIGITAL MIZCHIEF (Virginia) BoP Promo
Psytrance
(B.A.R.S., DMSS, LOB, Bop, Skitz.)
DIGITAL MIZCHIEF (Robert Delano) has been a underground staple for the last decade or better. With hundreds of gigs under his belt, he is a master showman, recording engineer, producer, and talented DJ, his sets come strong with a agressive, nothing held back, insane style.
Flavors to a tasty set can include Psycotic Psy to Screaming Americian Hardstylz, Filthy Electro to Disco, and everything inbetween.
Robert is also owner and chief recording engineer of Blue Aura Recording Studio, and owner of DIGITAL MIZCHIEF Stage Systems.
CHARLIE BROWN SUPERSTAR
Charlie Brown Superstar (aka Brett Fuller) has been spinning records in Huntington's most popular nightclubs since
1994, covering a wide range of musical genres. He currently holds residency at the V Club, where he DJ's the area's most popular and longest-running dance night, New Moon on Mondays, mixing the best new wave, rock and pop that the 80's had to offer. He has had the honor of performing with such nationally recognized recording artists as Arrested Development and Electric Six.
Charlie Brown Superstar is also one of the first House music dj's in the area and was the resident at the legendary local venue Gyrationz (the first club to feature an all EDM format) He is known for his marathon sets of Deep House and Electro.
In addition, Charlie Brown Superstar is an LBA Records recording artist and has been composing original electronic music since 1999. He did sampling for and toured with the popular local rock band, Chum, during the mid-90's and is currently a member of the critically acclaimed drone/doom metal band, Hyatari. His influences include everything from Mercury Rev, Gary Numan, Curtis Mayfield, H.G. Lewis, robots and even B-movies.
www.facebook.com/charliebrownsuperstar
soundcloud.com/#charlie-brown-supersta
WE ENCOURAGE PEACE, LOVE, UNITY & RESPECT! PLEASE BRING THE ATTITUDE WITH YOU! ♥
LED'S ENCOURAGED!
Photo/Video by Tophu Photo. www.facebook.com/TophuPhoto?fref=ts
Brought to you by the always dedicated Underground Industries. www.facebook.com/undergroundind
Billy Tipton Memorial Saxophone Quartet (Seattle, USA) - 1993
Live at
Autonomes Kulturzentrum Metzgerstrasse Hanau
.
SQUAT - SOUNDS *
AUTONOMES KULTURZENTRUM HANAU
(Besetztes Haus / Metzgerstrasse-Squat in Hanau / Germany).
Photographs 1987-1994
- Please scroll down for english and german info) -
The Squat - Photos:
www.flickr.com/photos/sterneck/sets/72157627799174125
Squating the Parliament (1988):
www.flickr.com/photos/sterneck/sets/72157627923787960
Concert-Photos 1987-1988:
www.flickr.com/photos/sterneck/sets/72157627799191443
Concert-Photos 1989-1990:
www.flickr.com/photos/sterneck/sets/72157627923799072
Concert-Photos 1991-1992:
www.flickr.com/photos/sterneck/sets/72157627923811302
Concert-Photos 1993-1994:
www.flickr.com/photos/sterneck/sets/72157627923815978
- Concert-Photos 1993-1994:
Billy Tipton Memorial Saxophone Quartet (Seattle, USA) - 1993
Deo Cadaver (Lausanne, Switzerland) - 1993
Hadayatullah Hübsch (Frankfurt, Germany) - 1993
In den Wolken schwebende Gänse II (Hanau, Germany) - 1993
Inox Kapell (Wiesbaden, Germany) - 1994
Left Hand Right Hand (London?, England) - 1994
Orchestre Murphy (London, England) - 1993
Peter Brötzmann (Wuppertal, Germany) - 1991
Pszychisz Teror (Zurich, Schweiz) - 1993
Rabenhirn (Frankfurt, Germany) - 1994
Schwartzeneggar (London, England) - 1993
Strelnikoff (Ljubljana, Slovenia) - 1993
Steve Ignorant (London, England) - 1993
Substanz T (Frankfurt, Germany) - 1994
The Honkies (London, England) - 1993
..... and Friends and .....
.........
There were a lot more bands playing in the squat.
If you have photographs or recordings - please get in contact:
contact@sterneck.net
Thanx! *
- * -
THE SQUATED AUTONOMOUS CULTURE CENTER
METZGERSTRASSE / HANAU
In December 1986 some people in Hanau (Germany) decided to squat a house that had been empty for a long time, Metzgerstraße 8. They restored it and filled this free space with a new life.
Soon it became an ’Autonomous Culture-Center’ for the people and by the people, and also a focal point for a solidaric projects and for the resistance against ruling systems in all their repressive forms. The center has had a long history of attempts to establish a self-determined culture-center in Hanau, although it has always been repressed by the local city council.
The basic forum of the center is the ”squatter meeting,” which is open to everyone who has an interest in the squat as a counter-cultural free space. Decisions are made on the consent principle, which means that they try to find a decision that can be supported by everyone. Many activists in the squat, but not all, describe themselves as members of the autonomy movement, which connects anarchist, communist and feminist ideas.
At the moment there are a lot of projects, groups, and events that take place in the center. Everything is done on a do-it-yourself and nonprofit basis; no one receives money for her or his work. Solidarity, trust and self-determination are the basis for all work. Here are some examples:
- The ’Infoladen’ (Infoshop): The Infoshop is an opportunity to get information that can’t be found in the normal bourgeois media. There are a lot of autonomous, left radical and feminist leaflets, brochures and newspapers available. There is also a small media center and an archive that includes material on topics like anti-fascism, atomic politics, women’s liberation, internationalism, etc.
- The ’Volxküche’ (Peoples Kitchen): Frequently people from the community cook a vegetarian meal that is available for a small price. The idea behind this is to overcome isolation between people and the patriarchal roles typical in the kitchen, and, of course, to provide a good tasting meal for many people.
- The Concerts: Concerts in the center are organized, and absolutely dedicated to the principle of working in a self-determined way without a manager, an agency, or even a contract. The bands that play in the squat should have a mutual relation to the ideas of the center. There are no musical limits: Local punk bands have played there as well as jazz bands from North-America and Avantguarde projects from Eastern Europe. Some of the performances have been released on tapes and records.
In a way, the things that happen between the people in the center are more important than the events: changes in behavior, opportunities to live together without hierarchical structures, and new ways of relating. Although the squat is like an island in some ways, it’s far from a concrete utopia. Problems in interpersonal relations exist, as well as differences between ideals and real behaviour.
If people want to go alternative ways, the authorities try to stop them. In Hanau the local city council has said for a long time that none of the things the squatters do and organize represent culture. They decided in parliament that the center was to be closed and torn down without an alternative. In place of the squat, they planned to build five parking places. A decision that is very symbolic and characteristic. Certainly, the real aim was to destroy the ideas and the structures this center stands for.
The answer of the supporters of the Autonomous Culture-Center was the squatting of the parliament of the city. The politicians went out of the building and the squatters voted for the continuation of the center.
Up to now the authorities have not been able to realize their plans for various reasons. On the one hand there are many people who support the squat. There are also legal difficulties around closing it, and they are afraid of the resistance and activities that could take place after closing the squat.
But even if they evict the center, they can’t repress the ideas that the squat stands for. It’s about a self-determined culture and a self-determined life. It’s about dreams and ideals. It’s about consequence and change, here and now.
Wolfgang Sterneck, 2001.
Autonomes Kulturzentrum
Metzgerstrasse 8, D-63450 Hanau, Germany.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Info on the Project of John Cage and Sterneck / KomistA in benefit of the squat:
- www.sterneck.net/john-cage/metzgerstrasse-e
- * -
SUBVERSIVE SOUNDS *
Konzerte im Autonomen Kulturzentrum Hanau.
Das besetzte Haus
Im Dezember 1986 kam es in Hanau zur Besetzung eines ehemaligen Nachtclubs in der Metzgerstraße 8. Das Gebäude, das zuvor über Jahre hinweg leer stand, wurde renoviert, neu gestaltet, umbenannt und wird seitdem als Autonomes Kulturzentrum genutzt. Das Ziel der Besetzung war es, einen Freiraum zu schaffen, in dem die Vorstellung einer autonomen Kultur wie auch die Wiederaneignung des entfremdeten Alltags konkret umsetzbar wird.
Vor diesem Hintergrund gelang es, ein Zentrum zu entwickeln, in dem solidarisches Handeln, kollektives Leben und politische Identität auf vielen Ebenen verschmelzen oder sich zumindest annähern. Die Metzgerstraße wurde dadurch zu einem wichtigen Bezugspunkt von dem auf verschiedenen Ebenen vielschichtige politische, soziale und kulturelle Impulse ausgingen.
Im Laufe der Jahre entstanden vielfältige Projekte wie die Volxküche (Essen zum Selbstkostenpreis), der Infoladen (Aktuelle politische Informationen und Archiv) und das Basta-Cafe (Treffpunkt und Sozialberatung). Die politischen Schwerpunkte der im Kulturzentrum aktiven Gruppen liegen unter anderen in den Bereichen 'Internationale Solidarität', Antifaschismus und 'Soziale Veränderung'.
Die Entscheidungen innerhalb des Kulturzentrums werden basisdemokratisch nach dem Konsensprinzip getroffen. Alle Aktivitäten basieren auf einer idealistischen Grundhaltung. Keine Person aus dem Zentrum erhält für ihre Tätigkeiten eine finanzielle Entlohnung.
Selbstbestimmte Kultur ohne Kommerz
Musik hatte von Anfang an in der Metzgerstraße eine besondere Bedeutung. Über das Musikhören hinaus machen viele AktivistInnen selbst Musik, veröffentlichen eigene Aufnahmen oder organisieren Konzerte. Im Sinne des DIY-Prinzipes ('Do it Yourself') werden die Auftritte im direkten Kontakt mit den MusikerInnen ohne Konzertagenturen und auch ohne Verträge auf völlig nichtkommerzieller Basis organisiert.
Eine Grundlage bildet ein solidarisches Verhältnis der MusikerInnen zur Metzgerstraße, was sich unter anderem auch in der Gage ausdrückt, die sich in der Regel auf die für die Band entstandenen Unkosten und die Verpflegung beschränkt. Der Eintrittspreis ist so ausgerichtet, dass er für alle interessierten Personen erschwinglich ist und die anfallenden Kosten deckt bzw. im Rahmen von Benefiz-Konzerten bestimmte Projekte unterstützt.
Freiräume statt Parkplätze
Während der ehemalige sozialdemokratische Kulturdezernat Hanaus davon sprach, dass in der Metzgerstraße keine Kultur stattfindet, bildete dass selbstorganisierte Zentrum durch die Auftritte von Bands aus Westeuropa und Nordamerika einen im Hanauer Kulturleben herausragenden internationalen Bezugspunkt. Die musikalische Bandbreite umfasst unter anderem Rockmusik in den verschiedensten Schattierungen, Punk, Hardcore, Folk und Jazz, sowie experimentelle und improvisierte Musik. Lokale Nachwuchsbands traten im Laufe der Jahre genauso auf wie renommierte Gruppen aus unterschiedlichsten Ländern. Einen Kultcharakter erlangten zudem die Nachtcafe-Sessions, an denen jeder und jede teilnehmen konnte.
Die Aufnahmen einiger Konzerte wurden später auf verschiedenen Tonträgern veröffentlicht. 1992 kam es daneben zur Veröffentlichung eines der Metzgerstraße gewidmeten Stücks des Avantgarde-Komponisten John Cage.
In den Anfangsjahren plante der Hanauer Magistrat das Haus nach einer Räumung abreißen zu lassen, um dort stattdessen fünf Parkplätze zu errichten. Die Kulturpolitik des Magistrates entlarvte sich dadurch in einer kaum zu übertreffenden symbolhaften Weise selbst. Das Vorhaben wurde jedoch nicht zuletzt in Folge einer Besetzung des Stadtparlamentes durch Unterstützerinnen des Kulturzentrums nicht weiter verfolgt.
Rund 25 Jahre nach der Besetzung wird das Haus weiterhin als Kulturzentrum genutzt. Im ansonsten auf Konsum und Kommerz ausgerichteten Stadtzentrum Hanaus ist es mit seinen vielfältigen Projekten kreativer wie auch subversiver Freiraum.
Wolfgang Sterneck, September 2011.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Eine ausführliche Beschreibung der Geschichte des Kulturzentrums:
Freiräume entwickeln - Das besetzte autonome Kulturzentrum Metzgerstraße Hanau
- www.sterneck.net/squat/metzgerstrasse-d
English Info:
The squated Autonomous Culture Center Metzgerstrasse Hanau
- www.sterneck.net/squat/metzgerstrasse-e
Infos zum Benefiz-Projekt von John Cage und Sterneck / KomistA für das Kulturzentrum:
- * -
“The sound of tireless voices is the price we pay for the right to hear the music of our own opinions.” - Adlai E. Stevenson
re-purposed vinyl LP (the Bar-Kays' "Nightcruising") illustrating a section of the Chicago Perimeter Ride map
Good morning from Mount Pilchuck.
I've lived up here for 8.5 years now (2.5 in Everett) and I have always wanted to do Pilchuck, but I just never got to it. So, Tuesday afternoon, I headed up for an overnight trip. And, I must say, it was pretty amazing up there.
This was a morning shot that stuck my eye. Its actually a panorama consisting of 8 vertical images stitched together. The view is from Rainier down south, to about Marysville/Camano Ilsand. You can clearly see Rainier, and the entire sound. Lake Stevens in about dead center. And the long streak below Rainier, is actually a layer of fog over the Snohomish Rivier.
Now having taken all that in, what really struck me was that arch of red to blue on the horizon. That arch is actually the shadow of the earth cast against the atmosphere as the sun is still rising (A couple of degress below the horizon at this point).
There are not words to describe how cool that is.... so here is a picture..
The Honkies (London, England) - 1992
Live at
Autonomes Kulturzentrum Metzgerstrasse Hanau
.
SQUAT - SOUNDS *
AUTONOMES KULTURZENTRUM HANAU
(Besetztes Haus / Metzgerstrasse-Squat in Hanau / Germany).
Photographs 1987-1994
- Please scroll down for english and german info) -
The Squat - Photos:
www.flickr.com/photos/sterneck/sets/72157627799174125
Squating the Parliament (1988):
www.flickr.com/photos/sterneck/sets/72157627923787960
Concert-Photos 1987-1988:
www.flickr.com/photos/sterneck/sets/72157627799191443
Concert-Photos 1989-1990:
www.flickr.com/photos/sterneck/sets/72157627923799072
Concert-Photos 1991-1992:
www.flickr.com/photos/sterneck/sets/72157627923811302
Concert-Photos 1993-1994:
www.flickr.com/photos/sterneck/sets/72157627923815978
- Concert-Photos 1991-1992:
Charles Hayward (London, England) - 1992
Embryo (Munich, Germany) - 1991
Girls against Boys (Washington, USA) - 1992
Hadayatullah Hübsch (Frankfurt, Germany) - 1991
In den Wolken schwebende Gänse II (Hanau, Germany) - 1991
Kaktuxxe (Hanau, Germany) - 1992
Medusa (Amsterdam?; Netherlands) - 1992
Peter Brötzmann (Wuppertal, Gemany) - 1991
Sterneck-Cage-Project (Hanau / New York) - 1991/92
The Ex (Amsterdam, Netherlands) - 1992
The Honkies (London, England) - 1992
Tom Cora (New York, USA) - 1992
..... and Friends and .....
.........
There were a lot more bands playing in the squat.
If you have photographs or recordings - please get in contact:
contact@sterneck.net
Thanx! *
- * -
THE SQUATED AUTONOMOUS CULTURE CENTER
METZGERSTRASSE / HANAU
In December 1986 some people in Hanau (Germany) decided to squat a house that had been empty for a long time, Metzgerstraße 8. They restored it and filled this free space with a new life.
Soon it became an ’Autonomous Culture-Center’ for the people and by the people, and also a focal point for a solidaric projects and for the resistance against ruling systems in all their repressive forms. The center has had a long history of attempts to establish a self-determined culture-center in Hanau, although it has always been repressed by the local city council.
The basic forum of the center is the ”squatter meeting,” which is open to everyone who has an interest in the squat as a counter-cultural free space. Decisions are made on the consent principle, which means that they try to find a decision that can be supported by everyone. Many activists in the squat, but not all, describe themselves as members of the autonomy movement, which connects anarchist, communist and feminist ideas.
At the moment there are a lot of projects, groups, and events that take place in the center. Everything is done on a do-it-yourself and nonprofit basis; no one receives money for her or his work. Solidarity, trust and self-determination are the basis for all work. Here are some examples:
- The ’Infoladen’ (Infoshop): The Infoshop is an opportunity to get information that can’t be found in the normal bourgeois media. There are a lot of autonomous, left radical and feminist leaflets, brochures and newspapers available. There is also a small media center and an archive that includes material on topics like anti-fascism, atomic politics, women’s liberation, internationalism, etc.
- The ’Volxküche’ (Peoples Kitchen): Frequently people from the community cook a vegetarian meal that is available for a small price. The idea behind this is to overcome isolation between people and the patriarchal roles typical in the kitchen, and, of course, to provide a good tasting meal for many people.
- The Concerts: Concerts in the center are organized, and absolutely dedicated to the principle of working in a self-determined way without a manager, an agency, or even a contract. The bands that play in the squat should have a mutual relation to the ideas of the center. There are no musical limits: Local punk bands have played there as well as jazz bands from North-America and Avantguarde projects from Eastern Europe. Some of the performances have been released on tapes and records.
In a way, the things that happen between the people in the center are more important than the events: changes in behavior, opportunities to live together without hierarchical structures, and new ways of relating. Although the squat is like an island in some ways, it’s far from a concrete utopia. Problems in interpersonal relations exist, as well as differences between ideals and real behaviour.
If people want to go alternative ways, the authorities try to stop them. In Hanau the local city council has said for a long time that none of the things the squatters do and organize represent culture. They decided in parliament that the center was to be closed and torn down without an alternative. In place of the squat, they planned to build five parking places. A decision that is very symbolic and characteristic. Certainly, the real aim was to destroy the ideas and the structures this center stands for.
The answer of the supporters of the Autonomous Culture-Center was the squatting of the parliament of the city. The politicians went out of the building and the squatters voted for the continuation of the center.
Up to now the authorities have not been able to realize their plans for various reasons. On the one hand there are many people who support the squat. There are also legal difficulties around closing it, and they are afraid of the resistance and activities that could take place after closing the squat.
But even if they evict the center, they can’t repress the ideas that the squat stands for. It’s about a self-determined culture and a self-determined life. It’s about dreams and ideals. It’s about consequence and change, here and now.
Wolfgang Sterneck, 2001.
Autonomes Kulturzentrum
Metzgerstrasse 8, D-63450 Hanau, Germany.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Info on the Project of John Cage and Sterneck / KomistA in benefit of the squat:
- www.sterneck.net/john-cage/metzgerstrasse-e
- * -
SUBVERSIVE SOUNDS *
Konzerte im Autonomen Kulturzentrum Hanau.
Das besetzte Haus
Im Dezember 1986 kam es in Hanau zur Besetzung eines ehemaligen Nachtclubs in der Metzgerstraße 8. Das Gebäude, das zuvor über Jahre hinweg leer stand, wurde renoviert, neu gestaltet, umbenannt und wird seitdem als Autonomes Kulturzentrum genutzt. Das Ziel der Besetzung war es, einen Freiraum zu schaffen, in dem die Vorstellung einer autonomen Kultur wie auch die Wiederaneignung des entfremdeten Alltags konkret umsetzbar wird.
Vor diesem Hintergrund gelang es, ein Zentrum zu entwickeln, in dem solidarisches Handeln, kollektives Leben und politische Identität auf vielen Ebenen verschmelzen oder sich zumindest annähern. Die Metzgerstraße wurde dadurch zu einem wichtigen Bezugspunkt von dem auf verschiedenen Ebenen vielschichtige politische, soziale und kulturelle Impulse ausgingen.
Im Laufe der Jahre entstanden vielfältige Projekte wie die Volxküche (Essen zum Selbstkostenpreis), der Infoladen (Aktuelle politische Informationen und Archiv) und das Basta-Cafe (Treffpunkt und Sozialberatung). Die politischen Schwerpunkte der im Kulturzentrum aktiven Gruppen liegen unter anderen in den Bereichen 'Internationale Solidarität', Antifaschismus und 'Soziale Veränderung'.
Die Entscheidungen innerhalb des Kulturzentrums werden basisdemokratisch nach dem Konsensprinzip getroffen. Alle Aktivitäten basieren auf einer idealistischen Grundhaltung. Keine Person aus dem Zentrum erhält für ihre Tätigkeiten eine finanzielle Entlohnung.
Selbstbestimmte Kultur ohne Kommerz
Musik hatte von Anfang an in der Metzgerstraße eine besondere Bedeutung. Über das Musikhören hinaus machen viele AktivistInnen selbst Musik, veröffentlichen eigene Aufnahmen oder organisieren Konzerte. Im Sinne des DIY-Prinzipes ('Do it Yourself') werden die Auftritte im direkten Kontakt mit den MusikerInnen ohne Konzertagenturen und auch ohne Verträge auf völlig nichtkommerzieller Basis organisiert.
Eine Grundlage bildet ein solidarisches Verhältnis der MusikerInnen zur Metzgerstraße, was sich unter anderem auch in der Gage ausdrückt, die sich in der Regel auf die für die Band entstandenen Unkosten und die Verpflegung beschränkt. Der Eintrittspreis ist so ausgerichtet, dass er für alle interessierten Personen erschwinglich ist und die anfallenden Kosten deckt bzw. im Rahmen von Benefiz-Konzerten bestimmte Projekte unterstützt.
Freiräume statt Parkplätze
Während der ehemalige sozialdemokratische Kulturdezernat Hanaus davon sprach, dass in der Metzgerstraße keine Kultur stattfindet, bildete dass selbstorganisierte Zentrum durch die Auftritte von Bands aus Westeuropa und Nordamerika einen im Hanauer Kulturleben herausragenden internationalen Bezugspunkt. Die musikalische Bandbreite umfasst unter anderem Rockmusik in den verschiedensten Schattierungen, Punk, Hardcore, Folk und Jazz, sowie experimentelle und improvisierte Musik. Lokale Nachwuchsbands traten im Laufe der Jahre genauso auf wie renommierte Gruppen aus unterschiedlichsten Ländern. Einen Kultcharakter erlangten zudem die Nachtcafe-Sessions, an denen jeder und jede teilnehmen konnte.
Die Aufnahmen einiger Konzerte wurden später auf verschiedenen Tonträgern veröffentlicht. 1992 kam es daneben zur Veröffentlichung eines der Metzgerstraße gewidmeten Stücks des Avantgarde-Komponisten John Cage.
In den Anfangsjahren plante der Hanauer Magistrat das Haus nach einer Räumung abreißen zu lassen, um dort stattdessen fünf Parkplätze zu errichten. Die Kulturpolitik des Magistrates entlarvte sich dadurch in einer kaum zu übertreffenden symbolhaften Weise selbst. Das Vorhaben wurde jedoch nicht zuletzt in Folge einer Besetzung des Stadtparlamentes durch Unterstützerinnen des Kulturzentrums nicht weiter verfolgt.
Rund 25 Jahre nach der Besetzung wird das Haus weiterhin als Kulturzentrum genutzt. Im ansonsten auf Konsum und Kommerz ausgerichteten Stadtzentrum Hanaus ist es mit seinen vielfältigen Projekten kreativer wie auch subversiver Freiraum.
Wolfgang Sterneck, September 2011.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Eine ausführliche Beschreibung der Geschichte des Kulturzentrums:
Freiräume entwickeln - Das besetzte autonome Kulturzentrum Metzgerstraße Hanau
- www.sterneck.net/squat/metzgerstrasse-d
English Info:
The squated Autonomous Culture Center Metzgerstrasse Hanau
- www.sterneck.net/squat/metzgerstrasse-e
Infos zum Benefiz-Projekt von John Cage und Sterneck / KomistA für das Kulturzentrum:
- * -
Strelnikoff (Ljubljana, Slovenia) - 1993
Live at
Autonomes Kulturzentrum Metzgerstrasse Hanau
.
SQUAT - SOUNDS *
AUTONOMES KULTURZENTRUM HANAU
(Besetztes Haus / Metzgerstrasse-Squat in Hanau / Germany).
Photographs 1987-1994
- Please scroll down for english and german info) -
The Squat - Photos:
www.flickr.com/photos/sterneck/sets/72157627799174125
Squating the Parliament (1988):
www.flickr.com/photos/sterneck/sets/72157627923787960
Concert-Photos 1987-1988:
www.flickr.com/photos/sterneck/sets/72157627799191443
Concert-Photos 1989-1990:
www.flickr.com/photos/sterneck/sets/72157627923799072
Concert-Photos 1991-1992:
www.flickr.com/photos/sterneck/sets/72157627923811302
Concert-Photos 1993-1994:
www.flickr.com/photos/sterneck/sets/72157627923815978
- Concert-Photos 1993-1994:
Billy Tipton Memorial Saxophone Quartet (Seattle, USA) - 1993
Deo Cadaver (Lausanne, Switzerland) - 1993
Hadayatullah Hübsch (Frankfurt, Germany) - 1993
In den Wolken schwebende Gänse II (Hanau, Germany) - 1993
Inox Kapell (Wiesbaden, Germany) - 1994
Left Hand Right Hand (London?, England) - 1994
Orchestre Murphy (London, England) - 1993
Peter Brötzmann (Wuppertal, Germany) - 1991
Pszychisz Teror (Zurich, Schweiz) - 1993
Rabenhirn (Frankfurt, Germany) - 1994
Schwartzeneggar (London, England) - 1993
Strelnikoff (Ljubljana, Slovenia) - 1993
Steve Ignorant (London, England) - 1993
Substanz T (Frankfurt, Germany) - 1994
The Honkies (London, England) - 1993
..... and Friends and .....
.........
There were a lot more bands playing in the squat.
If you have photographs or recordings - please get in contact:
contact@sterneck.net
Thanx! *
- * -
THE SQUATED AUTONOMOUS CULTURE CENTER
METZGERSTRASSE / HANAU
In December 1986 some people in Hanau (Germany) decided to squat a house that had been empty for a long time, Metzgerstraße 8. They restored it and filled this free space with a new life.
Soon it became an ’Autonomous Culture-Center’ for the people and by the people, and also a focal point for a solidaric projects and for the resistance against ruling systems in all their repressive forms. The center has had a long history of attempts to establish a self-determined culture-center in Hanau, although it has always been repressed by the local city council.
The basic forum of the center is the ”squatter meeting,” which is open to everyone who has an interest in the squat as a counter-cultural free space. Decisions are made on the consent principle, which means that they try to find a decision that can be supported by everyone. Many activists in the squat, but not all, describe themselves as members of the autonomy movement, which connects anarchist, communist and feminist ideas.
At the moment there are a lot of projects, groups, and events that take place in the center. Everything is done on a do-it-yourself and nonprofit basis; no one receives money for her or his work. Solidarity, trust and self-determination are the basis for all work. Here are some examples:
- The ’Infoladen’ (Infoshop): The Infoshop is an opportunity to get information that can’t be found in the normal bourgeois media. There are a lot of autonomous, left radical and feminist leaflets, brochures and newspapers available. There is also a small media center and an archive that includes material on topics like anti-fascism, atomic politics, women’s liberation, internationalism, etc.
- The ’Volxküche’ (Peoples Kitchen): Frequently people from the community cook a vegetarian meal that is available for a small price. The idea behind this is to overcome isolation between people and the patriarchal roles typical in the kitchen, and, of course, to provide a good tasting meal for many people.
- The Concerts: Concerts in the center are organized, and absolutely dedicated to the principle of working in a self-determined way without a manager, an agency, or even a contract. The bands that play in the squat should have a mutual relation to the ideas of the center. There are no musical limits: Local punk bands have played there as well as jazz bands from North-America and Avantguarde projects from Eastern Europe. Some of the performances have been released on tapes and records.
In a way, the things that happen between the people in the center are more important than the events: changes in behavior, opportunities to live together without hierarchical structures, and new ways of relating. Although the squat is like an island in some ways, it’s far from a concrete utopia. Problems in interpersonal relations exist, as well as differences between ideals and real behaviour.
If people want to go alternative ways, the authorities try to stop them. In Hanau the local city council has said for a long time that none of the things the squatters do and organize represent culture. They decided in parliament that the center was to be closed and torn down without an alternative. In place of the squat, they planned to build five parking places. A decision that is very symbolic and characteristic. Certainly, the real aim was to destroy the ideas and the structures this center stands for.
The answer of the supporters of the Autonomous Culture-Center was the squatting of the parliament of the city. The politicians went out of the building and the squatters voted for the continuation of the center.
Up to now the authorities have not been able to realize their plans for various reasons. On the one hand there are many people who support the squat. There are also legal difficulties around closing it, and they are afraid of the resistance and activities that could take place after closing the squat.
But even if they evict the center, they can’t repress the ideas that the squat stands for. It’s about a self-determined culture and a self-determined life. It’s about dreams and ideals. It’s about consequence and change, here and now.
Wolfgang Sterneck, 2001.
Autonomes Kulturzentrum
Metzgerstrasse 8, D-63450 Hanau, Germany.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Info on the Project of John Cage and Sterneck / KomistA in benefit of the squat:
- www.sterneck.net/john-cage/metzgerstrasse-e
- * -
SUBVERSIVE SOUNDS *
Konzerte im Autonomen Kulturzentrum Hanau.
Das besetzte Haus
Im Dezember 1986 kam es in Hanau zur Besetzung eines ehemaligen Nachtclubs in der Metzgerstraße 8. Das Gebäude, das zuvor über Jahre hinweg leer stand, wurde renoviert, neu gestaltet, umbenannt und wird seitdem als Autonomes Kulturzentrum genutzt. Das Ziel der Besetzung war es, einen Freiraum zu schaffen, in dem die Vorstellung einer autonomen Kultur wie auch die Wiederaneignung des entfremdeten Alltags konkret umsetzbar wird.
Vor diesem Hintergrund gelang es, ein Zentrum zu entwickeln, in dem solidarisches Handeln, kollektives Leben und politische Identität auf vielen Ebenen verschmelzen oder sich zumindest annähern. Die Metzgerstraße wurde dadurch zu einem wichtigen Bezugspunkt von dem auf verschiedenen Ebenen vielschichtige politische, soziale und kulturelle Impulse ausgingen.
Im Laufe der Jahre entstanden vielfältige Projekte wie die Volxküche (Essen zum Selbstkostenpreis), der Infoladen (Aktuelle politische Informationen und Archiv) und das Basta-Cafe (Treffpunkt und Sozialberatung). Die politischen Schwerpunkte der im Kulturzentrum aktiven Gruppen liegen unter anderen in den Bereichen 'Internationale Solidarität', Antifaschismus und 'Soziale Veränderung'.
Die Entscheidungen innerhalb des Kulturzentrums werden basisdemokratisch nach dem Konsensprinzip getroffen. Alle Aktivitäten basieren auf einer idealistischen Grundhaltung. Keine Person aus dem Zentrum erhält für ihre Tätigkeiten eine finanzielle Entlohnung.
Selbstbestimmte Kultur ohne Kommerz
Musik hatte von Anfang an in der Metzgerstraße eine besondere Bedeutung. Über das Musikhören hinaus machen viele AktivistInnen selbst Musik, veröffentlichen eigene Aufnahmen oder organisieren Konzerte. Im Sinne des DIY-Prinzipes ('Do it Yourself') werden die Auftritte im direkten Kontakt mit den MusikerInnen ohne Konzertagenturen und auch ohne Verträge auf völlig nichtkommerzieller Basis organisiert.
Eine Grundlage bildet ein solidarisches Verhältnis der MusikerInnen zur Metzgerstraße, was sich unter anderem auch in der Gage ausdrückt, die sich in der Regel auf die für die Band entstandenen Unkosten und die Verpflegung beschränkt. Der Eintrittspreis ist so ausgerichtet, dass er für alle interessierten Personen erschwinglich ist und die anfallenden Kosten deckt bzw. im Rahmen von Benefiz-Konzerten bestimmte Projekte unterstützt.
Freiräume statt Parkplätze
Während der ehemalige sozialdemokratische Kulturdezernat Hanaus davon sprach, dass in der Metzgerstraße keine Kultur stattfindet, bildete dass selbstorganisierte Zentrum durch die Auftritte von Bands aus Westeuropa und Nordamerika einen im Hanauer Kulturleben herausragenden internationalen Bezugspunkt. Die musikalische Bandbreite umfasst unter anderem Rockmusik in den verschiedensten Schattierungen, Punk, Hardcore, Folk und Jazz, sowie experimentelle und improvisierte Musik. Lokale Nachwuchsbands traten im Laufe der Jahre genauso auf wie renommierte Gruppen aus unterschiedlichsten Ländern. Einen Kultcharakter erlangten zudem die Nachtcafe-Sessions, an denen jeder und jede teilnehmen konnte.
Die Aufnahmen einiger Konzerte wurden später auf verschiedenen Tonträgern veröffentlicht. 1992 kam es daneben zur Veröffentlichung eines der Metzgerstraße gewidmeten Stücks des Avantgarde-Komponisten John Cage.
In den Anfangsjahren plante der Hanauer Magistrat das Haus nach einer Räumung abreißen zu lassen, um dort stattdessen fünf Parkplätze zu errichten. Die Kulturpolitik des Magistrates entlarvte sich dadurch in einer kaum zu übertreffenden symbolhaften Weise selbst. Das Vorhaben wurde jedoch nicht zuletzt in Folge einer Besetzung des Stadtparlamentes durch Unterstützerinnen des Kulturzentrums nicht weiter verfolgt.
Rund 25 Jahre nach der Besetzung wird das Haus weiterhin als Kulturzentrum genutzt. Im ansonsten auf Konsum und Kommerz ausgerichteten Stadtzentrum Hanaus ist es mit seinen vielfältigen Projekten kreativer wie auch subversiver Freiraum.
Wolfgang Sterneck, September 2011.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Eine ausführliche Beschreibung der Geschichte des Kulturzentrums:
Freiräume entwickeln - Das besetzte autonome Kulturzentrum Metzgerstraße Hanau
- www.sterneck.net/squat/metzgerstrasse-d
English Info:
The squated Autonomous Culture Center Metzgerstrasse Hanau
- www.sterneck.net/squat/metzgerstrasse-e
Infos zum Benefiz-Projekt von John Cage und Sterneck / KomistA für das Kulturzentrum:
- * -
Milford Sound (Piopiotahi in Māori) is a fjord in the south west of New Zealand's South Island, within Fiordland National Park and the Te Wahipounamu World Heritage site. It has been judged the world's top travel destination in an international survey,and is acclaimed as New Zealand's most famous tourist destination. Rudyard Kipling had previously called it the eighth Wonder of the World.
Milford Sound is named after Milford Haven in Wales, while the Cleddau River which flows into the sound is also named for its Welsh namesake. The Māori named the sound Piopiotahi after the thrush-like piopio bird, now extinct. Piopiotahi means "a single piopio", harking back to the legend of Māui trying to win immortality for mankind - when Maui died in the attempt, a piopio was said to have flown here in mourning.
Zygote (Bath, England) - 1990
Live at
Autonomes Kulturzentrum Metzgerstrasse Hanau
.
SQUAT - SOUNDS
AUTONOMES KULTURZENTRUM HANAU
(Besetztes Haus / Metzgerstrasse-Squat in Hanau / Germany).
Photographs 1987-1994
- Please scroll down for english and german info) -
The Squat - Photos:
www.flickr.com/photos/sterneck/sets/72157627799174125
Squating the Parliament (1988):
www.flickr.com/photos/sterneck/sets/72157627923787960
Concert-Photos 1987-1988:
www.flickr.com/photos/sterneck/sets/72157627799191443
Concert-Photos 1989-1990:
www.flickr.com/photos/sterneck/sets/72157627923799072
Concert-Photos 1991-1992:
www.flickr.com/photos/sterneck/sets/72157627923811302
Concert-Photos 1993-1994:
www.flickr.com/photos/sterneck/sets/72157627923815978
- Concert-Photos 1989-1990:
Archbishop Kebab (Edinburgh, Scotland) - 1989
Citizen Fish (Warminster, England) - 1990
Die Trottel (Budapest, Hungary) - 1988
Do Or Die (Amsterdam, Netherlands) - 1990
Israelvis (Trondhrim, Norway) - 1989
Kina (Valle d'Aosta, Italy) - 1990
Life… But How To Live It? (Oslo, Norway) - 1989
Political Asylum (Edinburgh, Scotland) - 1989
Rikk Agnew (Fullerton, USA) - 1990
Robsie Richter (Hanau, Germany) - 1990
Sharon Tates Children (Stuttgart, Germany) - 1989
Sore Throat (Yorkshire, England) - 1990
Spongetunnel (Chicago, USA) - 1989
Ugly Food (Lübeck, Germany, Odense, Denmark) - 1989
Zygote (Bath, England) - 1990
..... and Friends and .....
.........
There were a lot more bands playing in the squat.
If you have photographs or recordings - please get in contact:
contact@sterneck.net
Thanx! *
- * -
THE SQUATED AUTONOMOUS CULTURE CENTER
METZGERSTRASSE / HANAU
In December 1986 some people in Hanau (Germany) decided to squat a house that had been empty for a long time, Metzgerstraße 8. They restored it and filled this free space with a new life.
Soon it became an ’Autonomous Culture-Center’ for the people and by the people, and also a focal point for a solidaric projects and for the resistance against ruling systems in all their repressive forms. The center has had a long history of attempts to establish a self-determined culture-center in Hanau, although it has always been repressed by the local city council.
The basic forum of the center is the ”squatter meeting,” which is open to everyone who has an interest in the squat as a counter-cultural free space. Decisions are made on the consent principle, which means that they try to find a decision that can be supported by everyone. Many activists in the squat, but not all, describe themselves as members of the autonomy movement, which connects anarchist, communist and feminist ideas.
At the moment there are a lot of projects, groups, and events that take place in the center. Everything is done on a do-it-yourself and nonprofit basis; no one receives money for her or his work. Solidarity, trust and self-determination are the basis for all work. Here are some examples:
- The ’Infoladen’ (Infoshop): The Infoshop is an opportunity to get information that can’t be found in the normal bourgeois media. There are a lot of autonomous, left radical and feminist leaflets, brochures and newspapers available. There is also a small media center and an archive that includes material on topics like anti-fascism, atomic politics, women’s liberation, internationalism, etc.
- The ’Volxküche’ (Peoples Kitchen): Frequently people from the community cook a vegetarian meal that is available for a small price. The idea behind this is to overcome isolation between people and the patriarchal roles typical in the kitchen, and, of course, to provide a good tasting meal for many people.
- The Concerts: Concerts in the center are organized, and absolutely dedicated to the principle of working in a self-determined way without a manager, an agency, or even a contract. The bands that play in the squat should have a mutual relation to the ideas of the center. There are no musical limits: Local punk bands have played there as well as jazz bands from North-America and Avantguarde projects from Eastern Europe. Some of the performances have been released on tapes and records.
In a way, the things that happen between the people in the center are more important than the events: changes in behavior, opportunities to live together without hierarchical structures, and new ways of relating. Although the squat is like an island in some ways, it’s far from a concrete utopia. Problems in interpersonal relations exist, as well as differences between ideals and real behaviour.
If people want to go alternative ways, the authorities try to stop them. In Hanau the local city council has said for a long time that none of the things the squatters do and organize represent culture. They decided in parliament that the center was to be closed and torn down without an alternative. In place of the squat, they planned to build five parking places. A decision that is very symbolic and characteristic. Certainly, the real aim was to destroy the ideas and the structures this center stands for.
The answer of the supporters of the Autonomous Culture-Center was the squatting of the parliament of the city. The politicians went out of the building and the squatters voted for the continuation of the center.
Up to now the authorities have not been able to realize their plans for various reasons. On the one hand there are many people who support the squat. There are also legal difficulties around closing it, and they are afraid of the resistance and activities that could take place after closing the squat.
But even if they evict the center, they can’t repress the ideas that the squat stands for. It’s about a self-determined culture and a self-determined life. It’s about dreams and ideals. It’s about consequence and change, here and now.
Wolfgang Sterneck, 2001.
Autonomes Kulturzentrum
Metzgerstrasse 8, D-63450 Hanau, Germany.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Info on the Project of John Cage and Sterneck / KomistA in benefit of the squat:
- www.sterneck.net/john-cage/metzgerstrasse-e
- * -
SUBVERSIVE SOUNDS *
Konzerte im Autonomen Kulturzentrum Hanau.
Das besetzte Haus
Im Dezember 1986 kam es in Hanau zur Besetzung eines ehemaligen Nachtclubs in der Metzgerstraße 8. Das Gebäude, das zuvor über Jahre hinweg leer stand, wurde renoviert, neu gestaltet, umbenannt und wird seitdem als Autonomes Kulturzentrum genutzt. Das Ziel der Besetzung war es, einen Freiraum zu schaffen, in dem die Vorstellung einer autonomen Kultur wie auch die Wiederaneignung des entfremdeten Alltags konkret umsetzbar wird.
Vor diesem Hintergrund gelang es, ein Zentrum zu entwickeln, in dem solidarisches Handeln, kollektives Leben und politische Identität auf vielen Ebenen verschmelzen oder sich zumindest annähern. Die Metzgerstraße wurde dadurch zu einem wichtigen Bezugspunkt von dem auf verschiedenen Ebenen vielschichtige politische, soziale und kulturelle Impulse ausgingen.
Im Laufe der Jahre entstanden vielfältige Projekte wie die Volxküche (Essen zum Selbstkostenpreis), der Infoladen (Aktuelle politische Informationen und Archiv) und das Basta-Cafe (Treffpunkt und Sozialberatung). Die politischen Schwerpunkte der im Kulturzentrum aktiven Gruppen liegen unter anderen in den Bereichen 'Internationale Solidarität', Antifaschismus und 'Soziale Veränderung'.
Die Entscheidungen innerhalb des Kulturzentrums werden basisdemokratisch nach dem Konsensprinzip getroffen. Alle Aktivitäten basieren auf einer idealistischen Grundhaltung. Keine Person aus dem Zentrum erhält für ihre Tätigkeiten eine finanzielle Entlohnung.
Selbstbestimmte Kultur ohne Kommerz
Musik hatte von Anfang an in der Metzgerstraße eine besondere Bedeutung. Über das Musikhören hinaus machen viele AktivistInnen selbst Musik, veröffentlichen eigene Aufnahmen oder organisieren Konzerte. Im Sinne des DIY-Prinzipes ('Do it Yourself') werden die Auftritte im direkten Kontakt mit den MusikerInnen ohne Konzertagenturen und auch ohne Verträge auf völlig nichtkommerzieller Basis organisiert.
Eine Grundlage bildet ein solidarisches Verhältnis der MusikerInnen zur Metzgerstraße, was sich unter anderem auch in der Gage ausdrückt, die sich in der Regel auf die für die Band entstandenen Unkosten und die Verpflegung beschränkt. Der Eintrittspreis ist so ausgerichtet, dass er für alle interessierten Personen erschwinglich ist und die anfallenden Kosten deckt bzw. im Rahmen von Benefiz-Konzerten bestimmte Projekte unterstützt.
Freiräume statt Parkplätze
Während der ehemalige sozialdemokratische Kulturdezernat Hanaus davon sprach, dass in der Metzgerstraße keine Kultur stattfindet, bildete dass selbstorganisierte Zentrum durch die Auftritte von Bands aus Westeuropa und Nordamerika einen im Hanauer Kulturleben herausragenden internationalen Bezugspunkt. Die musikalische Bandbreite umfasst unter anderem Rockmusik in den verschiedensten Schattierungen, Punk, Hardcore, Folk und Jazz, sowie experimentelle und improvisierte Musik. Lokale Nachwuchsbands traten im Laufe der Jahre genauso auf wie renommierte Gruppen aus unterschiedlichsten Ländern. Einen Kultcharakter erlangten zudem die Nachtcafe-Sessions, an denen jeder und jede teilnehmen konnte.
Die Aufnahmen einiger Konzerte wurden später auf verschiedenen Tonträgern veröffentlicht. 1992 kam es daneben zur Veröffentlichung eines der Metzgerstraße gewidmeten Stücks des Avantgarde-Komponisten John Cage.
In den Anfangsjahren plante der Hanauer Magistrat das Haus nach einer Räumung abreißen zu lassen, um dort stattdessen fünf Parkplätze zu errichten. Die Kulturpolitik des Magistrates entlarvte sich dadurch in einer kaum zu übertreffenden symbolhaften Weise selbst. Das Vorhaben wurde jedoch nicht zuletzt in Folge einer Besetzung des Stadtparlamentes durch Unterstützerinnen des Kulturzentrums nicht weiter verfolgt.
Rund 25 Jahre nach der Besetzung wird das Haus weiterhin als Kulturzentrum genutzt. Im ansonsten auf Konsum und Kommerz ausgerichteten Stadtzentrum Hanaus ist es mit seinen vielfältigen Projekten kreativer wie auch subversiver Freiraum.
Wolfgang Sterneck, September 2011.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Eine ausführliche Beschreibung der Geschichte des Kulturzentrums:
Freiräume entwickeln - Das besetzte autonome Kulturzentrum Metzgerstraße Hanau
- www.sterneck.net/squat/metzgerstrasse-d
English Info:
The squated Autonomous Culture Center Metzgerstrasse Hanau
- www.sterneck.net/squat/metzgerstrasse-e
Infos zum Benefiz-Projekt von John Cage und Sterneck / KomistA für das Kulturzentrum:
- * -
when you have the right people behind the sound board, you will never sound bored | Kentwood Community Church Wyoming | 2016.06.26
今週末から札幌は夏の３大音楽祭が始まります。
ジャズの「Sapporo City Jazz」、
クラシックの「Pacific Music Festival（PMF）」、
8月開催のロックフェス「RISING SUN ROCK FESTIVAL（RSR）」。
それらイベントを協賛するサッポロビールが「SOUND OF HOKKAIDO」なる
北海道地区・限定缶をリリース。
Celebrate World Sight Day with Sound for Sight
Charlotte Kelly (photo by Warren Millar)
Produced by TALENTBANQ in support of Sightsavers
Thursday October 11th, 2018
Doors 6:30pm. Music from 7pm.
St Paul’s Church, Bedford St
Covent Garden
London
WC2E 9ED
To buy tickets click here
BUY TICKETS
Sound for Sight 2018 Line-up:-
Charlotte Kelly (Soul II Soul)
Mo Pleasure (Earth, Wind & Fire)
Dave Swift (Jools Holland)
Georgia and the Vintage Youth
Joe Slater
Professor Dan Reinstein
Denise Leigh
Sound for Sight is raising funds and awareness towards Sightsavers’ work eliminating the World’s leading cause of preventable blindness, trachoma.
Trachoma is a bacterial infection linked to inadequate water and sanitation and passed on by flies. It is referred to as ‘neglected tropical diseases’ and can be prevented and ultimately eliminated entirely.
The Sound for Sight audience will be taken on a spectacular sensory experience during the show that has been carefully curated by Sound for Sight Founder, Laura Westcott and ‘Mo Pleasure’ the former Music Director of Earth, Wind & Fire.
Charlotte Kelly, Soul II Soul
Charlotte rose to fame in the mid 1990s as one of the lead singers of British R&B group Soul II Soul, with hit songs “Back to Life” and “Keep on Movin”.
Charlotte was born blind at birth with no sight at all in her left eye and virtually none in her right eye.
“I am very excited and delighted to perform at Sound for Sight because being blind from birth, sound is one of the most important tools we possess as blind and visually impaired people. So, treatment and eradication of blindness is a blessing for the growth on the human experience.” – Charlotte Kelly
Denise Leigh
Denise made her operatic debut in 2003 by winning Channel 4’s Operatunity and playing the role of Gilda in Verdi’s Rigoletto at the London Coliseum.
Since then, Denise has sung all over the world and was honoured to headline the London 2012 Paralympic opening ceremony.
Both Denise and her husband Stefan (who will accompany Denise on piano) are visually impaired with a visually impaired son.
“The treatment and eradication of blindness, in all it’s forms, is a cause very close to our hearts and we are delighted to be performing at Sound for Sight to help fund research and treatment.” Denise and Stefan
Mo Pleasure
Mo is a renowned multi-instrumentalist, songwriter and producer. Mo began his professional music career playing bass guitar with Ray Charles. In 1993, Mo became a member of the legendary group Earth, Wind & Fire, and ascended to become the band’s musical director from 1994-2001.
Mo has performed with Stevie Wonder, Nile Rogers, Bette Midler, Roberta Flack, Amy Winehouse to name a few… He also played keys for Michael Jackson on his final comeback tour at the O2.
Dave Swift
Dave joined Jools Holland’s Rhythm and Blues Orchestra in 1991 as his resident bass player, and has played with him ever since! He is one of the UK’s finest, high-profile bass players and boasts a musician’s portfolio that is second to none, having played for an array of renowned artists, from George Benson and Chaka Khan to Eric Clapton and Paul Simon.
Professor Dan Reinstein
Dan is a pioneer in laser eye surgery and Founded the London Vision Clinic. He is also a very talented saxophonist and often accompanies Mo Pleasure at London’s iconic 606 Club.
Georgia & The Vintage Youth
A 22 year old Essex Girl with big blonde hair, a spine-tingling voice and a master of the retro jazz/swing style of music that is both vintage and fresh (hence the name of the band).
Georgia’s sound is contagious and subconsciously gets you tapping your feet, whilst her ballads are stripped back allowing Georgia’s strong and iconic vocal to make the hairs on the back of your neck stand on end.
Joe Slater
A 22-year-old lad from Liverpool who blurs the lines between Blues, Soul and Rock ‘n’ Roll whilst taking inspiration from The Beatles, Bruce Springsteen and Oasis.
“With his raspy voice, perfect pitch and soulful delivery, Slater is unquestionably destined for stardom….” London Hollywood
Don’t miss what promises to be an extraordinary night for a very worthy cause on World Sight Day.
Desolation Sound Aug 2008
Desolation Sound Aug 2008
desolation sound aug 2008
desolation sound aug 2008
This photo was taken during the first sound waves, which featured DJ Andrea Dunn from Radio Rio, Moacyr Marchini of the band Samba Bom and Scott Rice, a drummer and dance accompanist
pulitzerarts.org/events/film-poetry-other/sound-waves-bra...
The Cause
The “Sounds of Cohabitations” poster is about the coexistence of 3 different cultures in Ioannina city, which is celebrating this year 100 years since its liberation. (On February 21, 1913).
Through history Ioannina city has been gifted with a multicultural identity. Sometimes peacefully but not always, the Christian, Muslim and Hebrew culture coexisted there and that left the city with byzantine churches, mosques and synagogues along with a multicultural legacy, all of which make this city truly unique.
—
The Concept
Ioannina’s multicultural identity is traced through 36 historical buildings, monuments and boroughs. Mosques, synagogues, churches, inns, public bathrooms and slaughterhouses. Schools and libraries, theaters, even private residencies. Some of them are preserved, others are destroyed, others restored and some are simply forgotten. Some of them make up everyday roundabouts used by the locals in order to navigate and move through the city. Some others have been turned in blocks of flats or parks, having their existence documented only in some inscription or a rare book about the city’s history. However, each of them accommodated stories of different people and cultures. From Brosgos’s tavern, the New York Inn and Aslan Pasa’s Mosque up to Papazoglio Weaving School and Kalou Pasa’s Seraglio, Ioannina is a city full of history which can be “heard” and “read” on the roads of the city itself.
In these same roads where generations of people with different history, culture and habits used to walk. In the same buildings which were built by some, were used by others and were abandoned or destroyed by some others. These buildings and places act as regional conjunctions and cultural mirrors between the residents, thus creating and representing the sounds of their coexistence. From the candidate proclamations in the Averof Hotel, the horses’ neigh from the traveling carts outside Dodoni Inn up to the sounds of the Papazoglio Weaving School, the echoes of the buildings reflect the story of Ioannina. Different sounds, all originating from the same source. Same places for different stories.
—
Check the whole project here: bit.ly/IrOadu
The Honkies (London, England) - 1993
(Andy Diagram, Caroline Kraabel, Kathy Hulme, Richard Harrison)
Live at
Autonomes Kulturzentrum Metzgerstrasse Hanau
.
SQUAT - SOUNDS *
AUTONOMES KULTURZENTRUM HANAU
(Besetztes Haus / Metzgerstrasse-Squat in Hanau / Germany).
Photographs 1987-1994
- Please scroll down for english and german info) -
The Squat - Photos:
www.flickr.com/photos/sterneck/sets/72157627799174125
Squating the Parliament (1988):
www.flickr.com/photos/sterneck/sets/72157627923787960
Concert-Photos 1987-1988:
www.flickr.com/photos/sterneck/sets/72157627799191443
Concert-Photos 1989-1990:
www.flickr.com/photos/sterneck/sets/72157627923799072
Concert-Photos 1991-1992:
www.flickr.com/photos/sterneck/sets/72157627923811302
Concert-Photos 1993-1994:
www.flickr.com/photos/sterneck/sets/72157627923815978
- Concert-Photos 1993-1994:
Billy Tipton Memorial Saxophone Quartet (Seattle, USA) - 1993
Deo Cadaver (Lausanne, Switzerland) - 1993
Hadayatullah Hübsch (Frankfurt, Germany) - 1993
In den Wolken schwebende Gänse II (Hanau, Germany) - 1993
Inox Kapell (Wiesbaden, Germany) - 1994
Left Hand Right Hand (London?, England) - 1994
Orchestre Murphy (London, England) - 1993
Peter Brötzmann (Wuppertal, Germany) - 1991
Pszychisz Teror (Zurich, Schweiz) - 1993
Rabenhirn (Frankfurt, Germany) - 1994
Schwartzeneggar (London, England) - 1993
Strelnikoff (Ljubljana, Slovenia) - 1993
Steve Ignorant (London, England) - 1993
Substanz T (Frankfurt, Germany) - 1994
The Honkies (London, England) - 1993
..... and Friends and .....
.........
There were a lot more bands playing in the squat.
If you have photographs or recordings - please get in contact:
contact@sterneck.net
Thanx! *
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THE SQUATED AUTONOMOUS CULTURE CENTER
METZGERSTRASSE / HANAU
In December 1986 some people in Hanau (Germany) decided to squat a house that had been empty for a long time, Metzgerstraße 8. They restored it and filled this free space with a new life.
Soon it became an ’Autonomous Culture-Center’ for the people and by the people, and also a focal point for a solidaric projects and for the resistance against ruling systems in all their repressive forms. The center has had a long history of attempts to establish a self-determined culture-center in Hanau, although it has always been repressed by the local city council.
The basic forum of the center is the ”squatter meeting,” which is open to everyone who has an interest in the squat as a counter-cultural free space. Decisions are made on the consent principle, which means that they try to find a decision that can be supported by everyone. Many activists in the squat, but not all, describe themselves as members of the autonomy movement, which connects anarchist, communist and feminist ideas.
At the moment there are a lot of projects, groups, and events that take place in the center. Everything is done on a do-it-yourself and nonprofit basis; no one receives money for her or his work. Solidarity, trust and self-determination are the basis for all work. Here are some examples:
- The ’Infoladen’ (Infoshop): The Infoshop is an opportunity to get information that can’t be found in the normal bourgeois media. There are a lot of autonomous, left radical and feminist leaflets, brochures and newspapers available. There is also a small media center and an archive that includes material on topics like anti-fascism, atomic politics, women’s liberation, internationalism, etc.
- The ’Volxküche’ (Peoples Kitchen): Frequently people from the community cook a vegetarian meal that is available for a small price. The idea behind this is to overcome isolation between people and the patriarchal roles typical in the kitchen, and, of course, to provide a good tasting meal for many people.
- The Concerts: Concerts in the center are organized, and absolutely dedicated to the principle of working in a self-determined way without a manager, an agency, or even a contract. The bands that play in the squat should have a mutual relation to the ideas of the center. There are no musical limits: Local punk bands have played there as well as jazz bands from North-America and Avantguarde projects from Eastern Europe. Some of the performances have been released on tapes and records.
In a way, the things that happen between the people in the center are more important than the events: changes in behavior, opportunities to live together without hierarchical structures, and new ways of relating. Although the squat is like an island in some ways, it’s far from a concrete utopia. Problems in interpersonal relations exist, as well as differences between ideals and real behaviour.
If people want to go alternative ways, the authorities try to stop them. In Hanau the local city council has said for a long time that none of the things the squatters do and organize represent culture. They decided in parliament that the center was to be closed and torn down without an alternative. In place of the squat, they planned to build five parking places. A decision that is very symbolic and characteristic. Certainly, the real aim was to destroy the ideas and the structures this center stands for.
The answer of the supporters of the Autonomous Culture-Center was the squatting of the parliament of the city. The politicians went out of the building and the squatters voted for the continuation of the center.
Up to now the authorities have not been able to realize their plans for various reasons. On the one hand there are many people who support the squat. There are also legal difficulties around closing it, and they are afraid of the resistance and activities that could take place after closing the squat.
But even if they evict the center, they can’t repress the ideas that the squat stands for. It’s about a self-determined culture and a self-determined life. It’s about dreams and ideals. It’s about consequence and change, here and now.
Wolfgang Sterneck, 2001.
Autonomes Kulturzentrum
Metzgerstrasse 8, D-63450 Hanau, Germany.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Info on the Project of John Cage and Sterneck / KomistA in benefit of the squat:
- www.sterneck.net/john-cage/metzgerstrasse-e
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SUBVERSIVE SOUNDS *
Konzerte im Autonomen Kulturzentrum Hanau.
Das besetzte Haus
Im Dezember 1986 kam es in Hanau zur Besetzung eines ehemaligen Nachtclubs in der Metzgerstraße 8. Das Gebäude, das zuvor über Jahre hinweg leer stand, wurde renoviert, neu gestaltet, umbenannt und wird seitdem als Autonomes Kulturzentrum genutzt. Das Ziel der Besetzung war es, einen Freiraum zu schaffen, in dem die Vorstellung einer autonomen Kultur wie auch die Wiederaneignung des entfremdeten Alltags konkret umsetzbar wird.
Vor diesem Hintergrund gelang es, ein Zentrum zu entwickeln, in dem solidarisches Handeln, kollektives Leben und politische Identität auf vielen Ebenen verschmelzen oder sich zumindest annähern. Die Metzgerstraße wurde dadurch zu einem wichtigen Bezugspunkt von dem auf verschiedenen Ebenen vielschichtige politische, soziale und kulturelle Impulse ausgingen.
Im Laufe der Jahre entstanden vielfältige Projekte wie die Volxküche (Essen zum Selbstkostenpreis), der Infoladen (Aktuelle politische Informationen und Archiv) und das Basta-Cafe (Treffpunkt und Sozialberatung). Die politischen Schwerpunkte der im Kulturzentrum aktiven Gruppen liegen unter anderen in den Bereichen 'Internationale Solidarität', Antifaschismus und 'Soziale Veränderung'.
Die Entscheidungen innerhalb des Kulturzentrums werden basisdemokratisch nach dem Konsensprinzip getroffen. Alle Aktivitäten basieren auf einer idealistischen Grundhaltung. Keine Person aus dem Zentrum erhält für ihre Tätigkeiten eine finanzielle Entlohnung.
Selbstbestimmte Kultur ohne Kommerz
Musik hatte von Anfang an in der Metzgerstraße eine besondere Bedeutung. Über das Musikhören hinaus machen viele AktivistInnen selbst Musik, veröffentlichen eigene Aufnahmen oder organisieren Konzerte. Im Sinne des DIY-Prinzipes ('Do it Yourself') werden die Auftritte im direkten Kontakt mit den MusikerInnen ohne Konzertagenturen und auch ohne Verträge auf völlig nichtkommerzieller Basis organisiert.
Eine Grundlage bildet ein solidarisches Verhältnis der MusikerInnen zur Metzgerstraße, was sich unter anderem auch in der Gage ausdrückt, die sich in der Regel auf die für die Band entstandenen Unkosten und die Verpflegung beschränkt. Der Eintrittspreis ist so ausgerichtet, dass er für alle interessierten Personen erschwinglich ist und die anfallenden Kosten deckt bzw. im Rahmen von Benefiz-Konzerten bestimmte Projekte unterstützt.
Freiräume statt Parkplätze
Während der ehemalige sozialdemokratische Kulturdezernat Hanaus davon sprach, dass in der Metzgerstraße keine Kultur stattfindet, bildete dass selbstorganisierte Zentrum durch die Auftritte von Bands aus Westeuropa und Nordamerika einen im Hanauer Kulturleben herausragenden internationalen Bezugspunkt. Die musikalische Bandbreite umfasst unter anderem Rockmusik in den verschiedensten Schattierungen, Punk, Hardcore, Folk und Jazz, sowie experimentelle und improvisierte Musik. Lokale Nachwuchsbands traten im Laufe der Jahre genauso auf wie renommierte Gruppen aus unterschiedlichsten Ländern. Einen Kultcharakter erlangten zudem die Nachtcafe-Sessions, an denen jeder und jede teilnehmen konnte.
Die Aufnahmen einiger Konzerte wurden später auf verschiedenen Tonträgern veröffentlicht. 1992 kam es daneben zur Veröffentlichung eines der Metzgerstraße gewidmeten Stücks des Avantgarde-Komponisten John Cage.
In den Anfangsjahren plante der Hanauer Magistrat das Haus nach einer Räumung abreißen zu lassen, um dort stattdessen fünf Parkplätze zu errichten. Die Kulturpolitik des Magistrates entlarvte sich dadurch in einer kaum zu übertreffenden symbolhaften Weise selbst. Das Vorhaben wurde jedoch nicht zuletzt in Folge einer Besetzung des Stadtparlamentes durch Unterstützerinnen des Kulturzentrums nicht weiter verfolgt.
Rund 25 Jahre nach der Besetzung wird das Haus weiterhin als Kulturzentrum genutzt. Im ansonsten auf Konsum und Kommerz ausgerichteten Stadtzentrum Hanaus ist es mit seinen vielfältigen Projekten kreativer wie auch subversiver Freiraum.
Wolfgang Sterneck, September 2011.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Eine ausführliche Beschreibung der Geschichte des Kulturzentrums:
Freiräume entwickeln - Das besetzte autonome Kulturzentrum Metzgerstraße Hanau
- www.sterneck.net/squat/metzgerstrasse-d
English Info:
The squated Autonomous Culture Center Metzgerstrasse Hanau
- www.sterneck.net/squat/metzgerstrasse-e
Infos zum Benefiz-Projekt von John Cage und Sterneck / KomistA für das Kulturzentrum:
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