Renée Leve Packer & Mary Jane Leach (eds), Gay Guerrilla: Juli Eastman and His Mic

Contents:

• GAY GUERRILLA (1979)
• GAY GUERRILLA: JULI EASTMAN AND HIS MIC
• GAY GUERRILLA: JULI EASTMAN AND HIS MIC
• GAY GUERRILLA
• GAY GUERRILLA: JULI EASTMAN AND HIS MIC, ED. RENéE LEVE PACKER AND MARY JANE LEACH [REVIEW]GAY GUERRILLA: JULI EASTMAN AND HIS MIC, ED. RENéE LEVE PACKER AND MARY JANE LEACH [REVIEW]GAY GUERRILLA: JULI EASTMAN AND HIS MIC, ED. RENéE LEVE PACKER AND MARY JANE LEACH [REVIEW]GAY GUERRILLA: JULI EASTMAN AND HIS MIC, ED. RENéE LEVE PACKER AND MARY JANE LEACH [REVIEW]GAY GUERRILLA: JULI EASTMAN AND HIS MIC, ED. RENéE LEVE PACKER AND MARY JANE LEACH [REVIEW]
• GAY GUERRILLA
• RENéE LEVE PACKER & MARY JANE LEACH (EDS), GAY GUERRILLA: JULI EASTMAN AND HIS MIC
• JULI EASTMAN: GAY GUERRILLA
• JULI EASTMAN/GAY GUERILLA
• GAY GUERRILLA: JULI EASTMAN AND HIS MIC
• GAY GUERRILLA (1979)
• RENéE LEVE PACKER & MARY JANE LEACH (EDS), GAY GUERRILLA: JULI EASTMAN AND HIS MIC

GAY GUERRILLA (1979)

Gay Guerrilla: Juli Eastman and His Mic on JSTOR. Composer NoteFrom Juli Eastman’s remarks to the dience before the premier of Crazy Nigger, Evil Nigger, and Gay Guerrilla January 1980 durg his poser-rincy at Northwtern Universy: “Now the reason I e Gay Guerrilla — G U E R R I L L A, that one — is bee the nam — let me put a ltle subsystem here — the nam: eher I glorify them or they glorify me.

And the se of guerrilla: that glorifi gay — that is to say, there aren’t many gay guerrillas. I don’t feel that ‘gaydom’ has — do have — that strength, so therefore, I e that word the hop that they will. You see, I feel that — at this pot, I don’t feel that gay guerrillas n really match wh ‘Afghani’ guerrillas or ‘PLO’ guerrillas, but let hope the future that they might, you see.

GAY GUERRILLA: JULI EASTMAN AND HIS MIC

So, therefore, that is the reason that I e gay guerrilla, hop that I might be one, if lled upon to be one.

When my ey crossed the spe of Gay Guerrilla; Juli Eastman and His Mic, I knew that my rearch was over. Perhaps the reason why Juli Eastman didn’t bee mercially succsful like his peers was due to his urage to e mic to tell the tribulatns of beg a gay Ao-Amerin man durg the Civil Rights Movement era. Homosexualy and Ao-Amerins’ stggl were topics that ma the ncert hall dience too unfortable at that time, and perhaps they still do.

Followed by the succs of Unjt Malaise, and the wispread tert that was brought to Eastman’s name, Renée Leve Packer and Mary Jane Leach eded Gay Guerrilla, published 2015 by Universy of Rochter Prs.

GAY GUERRILLA: JULI EASTMAN AND HIS MIC

Among the thors clud Gay Guerilla, there are many micians who knew and llaborated wh Juli Eastman and some scholars who have recently looked to the works of Juli Eastman. Some of Eastman’s most famo posns such as “Stay On It, ” “Crazy Nigger, ” “Evil Nigger, ” and “Gay Guerrilla, ” are over 20 mut long (“Crazy Nigger” is almost one hour). Gay Guerrilla: Juli Eastman and His Micby Renée Leve Packer (Edor), Mary Jane Leach (Edor).

GAY GUERRILLA

Schirmer, greatly facilatg accs to and performance of his mic; and, what’s more, the Universy of Rochter Prs has announced publitn of a paperback edn of Gay Guerrilla: Juli Eastman and His Mic, a book of says, origally published 2015. The astonishg thg is that, as mic cric Kyle Gann wr his chapter for Gay Guerrilla, “Juli Eastman’s mic rose om the ad.

” This “polil aggrsivens” is evint the seri of multi-piano piec that Eastman wrote wh provotive tl such as Crazy Nigger, Evil Nigger, and Gay Guerrilla. She is ntributor and -edor wh Mary Jane Leach of Gay Guerrilla: Juli Eastman and His Mic, which will be released paperback edn October 2018 by Universy of Rochter Prs.

Gay Guerrilla: Juli Eastman and His Mic Eded by Renée Leve Packer and Mary Jane Leach Paperback / 9781580469562 / £12.

GAY GUERRILLA: JULI EASTMAN AND HIS MIC, ED. RENéE LEVE PACKER AND MARY JANE LEACH [REVIEW]GAY GUERRILLA: JULI EASTMAN AND HIS MIC, ED. RENéE LEVE PACKER AND MARY JANE LEACH [REVIEW]GAY GUERRILLA: JULI EASTMAN AND HIS MIC, ED. RENéE LEVE PACKER AND MARY JANE LEACH [REVIEW]GAY GUERRILLA: JULI EASTMAN AND HIS MIC, ED. RENéE LEVE PACKER AND MARY JANE LEACH [REVIEW]GAY GUERRILLA: JULI EASTMAN AND HIS MIC, ED. RENéE LEVE PACKER AND MARY JANE LEACH [REVIEW]

To be proudly gay as a poser the 1970s was brave enough; to be Black and gay that world, even more so. The tails of his life the years right after llege are sketchier acrdg to Gay Guerrilla: Juli Eastman and his Mic, a 2015 book -eded by Renée Leve Packer and Mary Jane Leach, and still the most thorative text on the poser. His personal motto, which he scribed to the Buffalo Eveng News 1976, was "to be what I am to the fullt: Black to the fullt, a mician to the fullt, and a homosexual to the fullt.

Even to prenters and dienc today, the ntrast between the sound of the works and their nam — Crazy Nigger, Dirty Nigger, Evil Nigger, Nigger Faggot, Gay Guerrilla — is nearly as jarrg as the nam themselv.

GAY GUERRILLA

" By wrappg himself stereotyped personae, he hoped to raise qutns about racism, homophobia and the power of words to provoke.

RENéE LEVE PACKER & MARY JANE LEACH (EDS), GAY GUERRILLA: JULI EASTMAN AND HIS MIC

" In an say that appears Gay Guerilla, poser and cric Kyle Gann wr that the works stand apart om the mimalist movement: "At the time, his mic seemed an excg and eccentric part of what was gog on, but lookg back today, his piec sound particularly distctive, as though he had not only absorbed mimalism, but uld see to s future. "He was the 'crazy nigger' and the 'gay guerrilla.

Composer-performer Juli Eastman (1940-90) was an enigma, both fortable and unfortable the many worlds he habed: black, whe, gay, straight, classil mic, dis, amia, and downtown New York. Eastman's provotive tl, cludg Gay Guerrilla, Evil Nigger, Crazy Nigger, and others, asslt wh his obssns.

Eastman tted lims wh his polil aggrsivens, as reflected legendary sndals like his June 1975 performance of John Cage's Song Books, which featured homoerotic terjectns, and the uproar over his tl at Northwtern Universy. In addn to analys of Eastman's mic, the says Gay Guerrilla provi background on his remarkable life history and the era's social landspe. The book prents an thentic portra of a notable Amerin artist thatis pellg readg for the general rear as well as scholars terted twentieth-century Amerin mic, Amerin studi, gay rights, and civil rights.

JULI EASTMAN: GAY GUERRILLA

Nemo HillJuli Eastman and the Conceptn of "Organic Mic" - Kyle GannJuli Eastman Sgg - John Patrick ThomasAn Accintal Milogist Pass the Torch - Mary Jane LeachA Flexible Mil Inty: Juli Eastman New York Cy, 1976-90 - Ryan DohoneyEvil Nigger: A Piece for Multiple Instments of the Same Type by Juli Eastman (1979), wh Performance Instctns by Joseph Kubera - David BornA Postmimalist Analysis of Juli Eastman's Crazy Nigger - Andrew Hanson-Dvoracek"The Piece Do Not Exist whout Juli": Still Stayg on Stay On It - Matthew MenzConnectg the Dots - Mary Jane LeachGay Guerrilla: A Mimalist Choralphantasie - Luciano ChsaAppendix: Juli Eastman Composns - Mary Jane LeachChronologySelected BiblgraphyList of ContributorsInx. What happened between the years 1968, when Juli premiered his Piano Piec I–IV Buffalo, and 1980, when he prented his newt works Evil Nigger, Gay Guerrilla, and Crazy Nigger for performance at Northwtern Universy? Eastman's provotive tl, cludg Gay Guerrilla, Evil Nigger, Crazy Nigger, and others asslt wh his obssns.

JULI EASTMAN/GAY GUERILLA

Eastman tted lims wh his polil aggrsivens, as reunted legendary sndals he unleashed like his June 1975 performance of John Cage's Song Books, which featured homoerotic terjectns, or the uproar over his tl at Northwtern Universy.

The book prents an thentic portra of a notable Amerin artist that is pellg readg for the general rear as well as scholars terted twentieth-century Amerin mic, Amerin studi, gay rights, and civil rights. 2Gay Guerrilla: Juli Eastman and His Mic is the first book voted to Eastman.

No wonr, then, that Gay Guerrilla, which tak s name om one of Eastman’s posns, entw the personal, mil, social and cultural. Born’s piece ends wh an important, open qutn about the extent to which Eastman’s life and work was ndned by the impossibily of ‘fdg a home’ as a black, openly gay poser-performer.

GAY GUERRILLA: JULI EASTMAN AND HIS MIC

7Luciano Chsa extends this: his nsiratn of the queer thematics of Eastman’s works volv readg Gay Guerilla (the piece) as articulatg, through s elements of chorale fantasia stcturg and referencg of the Lutheran chorale E fte Burg ist unser Gott, a mil narrative predited on Eastman’s notn of a guerrilla: someone who sacrific their life for a prcipled pot of view. 11While a number of the ntributors pot beyond mimalism and experimental mic as the sole ntext for Eastman’s work, notg the signifince of jazz and improvisatn, Ryan Dohoney’s chapter wins the ntext further, suatg Eastman’s athetic of ‘fundamentalns’ relatn to the fluence of punk and his volvement experimental (often predomantly gay) dis culture, cludg wh Arthur Rsell’s group Dosr L. He also explor the relatnship between experimental mic, radil black activism and post-Stonewall gay sexualy Eastman’s work.

12Overall, Gay Guerilla is a book that explor unrolved qutns: about Eastman’s inty, his signifince as a mician, and the polics of the relatnship between the two. “What I am tryg to achieve is to be what I am to the fullt—Black to the fullt, a mician to the fullt, and a homosexual to the fullt.

Ain-Amerin volist Gwendol Sims was also a member of the Creative Associat, and Hisama also pots to Charl Mg, Archie Shepp, and Charl Gayle as active performers and teachers Buffalo at the time. After a seri of personal profsnal ups and downs—tenuo faculty appotments, -director of Brooklyn Philharmonic Communy Concert seri wh Talib Hakim and Tania León, ser fancial set backs and dg-related addictns, tourg volist wh Meredh Monk—Eastman posed Gay Guerrilla, and the explicly tled work, “Nigger Seri, ” cludg Evil Nigger, Crazy Nigger, Dirty Nigger, and Nigger Faggot, the late 1970s and early 80s. And the se of guerrilla, that glorifi gay…A guerrilla is someone who any se is sacrificg his life for a pot of view.

GAY GUERRILLA (1979)

” —Eastman on Gay Guerrilla. Sre to Juli Eastman’s Gay Guerilla (1979); Duplited wh permissn om Mary Jane Leach ().

Maybe was the provotive tl themselv, the racial, pal, or sexualy topics that Eastman addrsed head on, or his posn as an Ain Amerin (self-intified) homosexual wh the “uptown” and “downtown” scen of experimentalism that have led to Eastman’s low-equency stat ntemporary mic and art circl. Such a velopment of this queered athetic might get closer to terrogatg and fdg new ways to improvise through the difficult topics of homophobia, palism, and racism that Eastman himself alt wh throughout his life. As he himself noted, “therefore that is the reason I e ‘gay guerrilla, ’ hop that I might be one if lled upon to be one.

RENéE LEVE PACKER & MARY JANE LEACH (EDS), GAY GUERRILLA: JULI EASTMAN AND HIS MIC

” If we are lled upon to be “gay guerrillas” our work, art makg, and livg, maybe Eastman will help get there a b quicker. " The 'gay guerilla' Another important figure this perd is Juli Eastman, Rob says. " O'Brien pots to Eastman's Gay Guerilla, which a pre-ncert talk the poser pared to the language applied to Afghani and PLO guerrillas — people who are a fight.

"And he said if he was lled upon to be one, he would want to be a gay guerrilla, " O'Brien says.