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DTSTART;TZID=America/Los_Angeles:20170407T200000
DTEND;TZID=America/Los_Angeles:20170407T220000
DTSTAMP:20170405T224624Z
CREATED:20170401T014252Z
LAST-MODIFIED:20170405T224624Z
UID:2569-1491595200-1491602400@www.h-r.la
SUMMARY:$3.33 - "DRAFT" Tape Release Feat. Album-Length Screening of Original Film by Miko Revereza
DESCRIPTION:$3.33 Tape Release of “DRAFT” on Leaving Records \nFeaturing an album-length screening of an original film by Miko Revereza\n+ Drinks and Snacks by Chef Jazzy \nhttp://www.threethirtythree.biz/ \nhttp://www.mikorevereza.com/ \nhttp://www.jasminesarp.com/ \nhttp://leavingrecords.com/
URL:https://www.h-r.la/event/3-33-draft-tape-release-feat-an-album-length-screening-of-an-original-film-by-miko-revereza/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/03/3.33-DRAFT-HR-FLIER-1.jpg
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DTSTART;TZID=America/Los_Angeles:20170423T140000
DTEND;TZID=America/Los_Angeles:20170423T160000
DTSTAMP:20170410T203350Z
CREATED:20170410T203350Z
LAST-MODIFIED:20170410T203350Z
UID:2578-1492956000-1492963200@www.h-r.la
SUMMARY:Sing Stitch Resist
DESCRIPTION:Blending techniques of a sing-along\, sit-in\, and sewing circle\, artist and activist Emily Lacy invites the public to give voice to sonic resistance in challenging times. At this gathering\, the rich legacy of politically active music in America is both enacted and added to\, by mixing traditional protest songs from the past with new songs and sound pieces written for the present. Drawing from another community-oriented folk tradition\, that of the sewing and quilting circle\, participants are invited to embroider a message while listening or singing along. Custom sewing kits and materials are provided. The event is a celebration of folk forms and their potential to be adapted for contemporary contexts that encourage inclusive and compassionate expression. Participants are invited to wear attire and bring signs or other visual aids normally associated with a march or a demonstration. All ages are welcome. Lacy has generated work in music\, film\, and other media for many years\, and her performances and recordings have been included in various exhibitions at PS1 MOMA\, MCA Chicago\, the Whitney Museum of American Art\, the Hammer Museum\, the Walker Art Center\, and LACMA\, in addition to various DIY spaces all throughout America. \nSpecial guest performers will include Charlyne Yi\, Carolyn Pennypacker-Riggs\, Laura Steenberge\, and Elana Mann with the Take a Stand Marching Band.
URL:https://www.h-r.la/event/sing-stitch-resist/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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DTSTART;TZID=America/Los_Angeles:20170426T190000
DTEND;TZID=America/Los_Angeles:20170426T210000
DTSTAMP:20170425T015235Z
CREATED:20170418T180124Z
LAST-MODIFIED:20170425T015235Z
UID:2581-1493233200-1493240400@www.h-r.la
SUMMARY:Having Left: Intersectional Perspectives on Migration
DESCRIPTION:Having Left: Intersectional Perspectives on Migration\nHuman Resources\, Los Angeles\nWednesday\, April 26\, 2017\n7:00–9:00pm \nTransnational and intersectional perspectives on feminism encompass questions that challenge postcolonial frameworks and scrutinize the destruction carried out by Western imperialism. Several artists from the Asian diaspora will present work exploring global migration\, labor\, and gender identity. Christine Dianne Guiyangco will re-stage a candle-lighting ceremony that marked her eighteenth birthday\, a coming-of-age debut in Filipino tradition\, which will involve three white women who were present at the event. Thinh Nguyen will perform the “War Cry” series as Long Long\, a reclaimed superego from Nguyen’s childhood memories growing up as a girl. Seo Yun Son & eunhae yoo will engage the audience in an interactive performance that narrativizes the Korean concept of jeong through a consideration of intergenerational and traditional labor.  \nCurated by Hyunjee Nicole Kim\, and presented by Intersectionality NOW as part of their spring 2017 programming residency at the Women’s Center for Creative Work. \nARTISTS \nChristine Dianne Guiyangco was born in Philippines in 1992 and moved to United States in 2001. She currently works and lives in Los Angeles. She actively works in a range of fields including performance\, painting\, writing\, installation\, video\, and sculpture. In 2014\, she received her BA at the University of California Los Angeles. The process of displacement and reestablishment that began from her childhood engender identity politics to ground her project based interdisciplinary art practice.  \nThinh Nguyen’s work is a complex contemporary look at a few converging issues investigating the personal\, social\, cultural\, and historical while innovatively engaging the public in the process. He explores formal and conceptual process in different media as a strategy to continue the development of critical exchange and aesthetic innovation. He received an MFA at Claremont Graduate University and BFA a California State University\, Fullerton. \nSeo Yun Son is an artist and educator living in Los Angeles\, California. She received her BFA in Fine Arts from the University of California\, Los Angeles. As an undocumented immigrant\, her practice examines the politics of constructing one’s identity by remapping territory and citizenship as well as the circulation and progression of one’s personal memory and history. \neunhae yoo is a Los Angeles-based artist who received her BFA in Fine Arts from University of California\, Los Angeles. She grew up in South Korea and immigrated to the U.S. in 2002. Her identity-based works stem from her undocumented status and the internal split caused by dichotomous cultural influences and memories. Through her conceptual practice\, the artist inspects the fluid – and often clashing – nature behind the sense of belonging to oneself and to a larger entity. \nIntersectionality NOW is a collective that believes FEMINISM NOW must be intersectional (we reject hierarchies based on race\, class\, gender\, ability\, sexuality\, or age) & that it must work to AMPLIFY the most marginalized women.
URL:https://www.h-r.la/event/having-left-intersectional-perspectives-on-migration/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/04/Nguyen_T_06.jpg
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DTSTART;TZID=America/Los_Angeles:20170427T200000
DTEND;TZID=America/Los_Angeles:20170427T200000
DTSTAMP:20170422T224135Z
CREATED:20170422T223859Z
LAST-MODIFIED:20170422T224135Z
UID:2595-1493323200-1493323200@www.h-r.la
SUMMARY:Keith Fullerton Whitman / Sean McCann / Jessika Kenney
DESCRIPTION:live in concert: \nKEITH FULLERTON WHITMAN\nSEAN McCANN\nJESSIKA KENNEY \ndoors at 8 / sound at 9 \n$12 at the door \nadvance tickets also available as a convenience for $10 plus fees: http://tiny.cc/KFWatHRtix \n\nKEITH FULLERTON WHITMAN \nThrough more than two decades\, Keith Fullerton Whitman has continuously explored and celebrated the technologies and many facets of electronic music\, plumming its history and scouting its cutting edges. Assuming the role of a contemporary “Contemporary Classical” composer\, Keith has also made the case that this music is a ‘popular form’ by serially choosing to release on labels intent on bringing such niche music to a wider audience. Keith’s discography is itself a dizzying catalogue of influence; labels that count his total-art aesthetic as part of their identity include Kranky\, Editions Mego\, PAN\, Room40\, No Fun Productions\, Rare Youth\, Root Strata\, Amethyst Sunset\, among other good companies. \nThe past couple of years Keith has focused on realizations of a “Live Electronic Music” that utilizes both software and hardware – improvisation with a laptop and modular rig both on stage. This activity has culminated in a piece – or perhaps a process – called Redactions. Each instance of this work incorporates “thematically and geographically relevant Musique Concrète elements” thus rendering each iteration – as well as the manner in which it is diffused – necessarily site-specific. Sonically\, the outcomes can be radically different\, or even abruptly shift styles within the same performance. Subtle landscapes of magnetic snow\, electro-acoustic gurgle and scrape\, sustained tone play\, or drifting particles of pulse. \nPrevious performances of Redactions have been staged in Europe\, Australia\, and the U.S. at various venues of note\, including Boston City Hall. KFW on Redactions: “It’s the most complete performance solution I’ve come up with to date; very much a live performance work and as of yet remains undocumented by a tangible commercial recording… please come hear it live.” \nThis will be Keith’s first L.A. appearance in over four years\, and also his first since relocating from Boston to Melbourne\, Austraila. The Los Angeles debut of Redactions will be presented in Quadrophonic Sound. \nhttp://www.keithfullertonwhitman.com/redactions/ \n\nSEAN McCANN \nDrawn to the timbres of the orchestra\, Sean McCann has meshed acoustic instrumentation back into the possibilities of new sound fields\, painting pastoral landscapes with voicings near and clear. Since 2013’s Music for Private Ensemble he’s drifted away from overtly electronic sonics\, creating seamless studio assemblages of imaginary and – possibly impossible – ensembles. In live settings too\, classical instruments come into the fold as fodder for the mix. Human voice is never far away\, even if phonemes are reconfigured or processed. Indeed\, McCann’s work – and that of his “Recital Program” imprint – draw inspiration from an array of aesthetics: the “guttural tape work” of Fluxus artists\, experimental librettos\, certain margins of the New Age\, and many an artist who practiced outside of the spotlight. \nFor this – his first local performance since his most recent release Music for Public Ensemble – McCann will convene an ensemble to present a mostly-acoustic chamber-based piece\, augmented by live electronics\, to be preceded by a sound poetry / tape music piece. \n\nJESSIKA KENNEY \nWhether singing amidst gamelan tones\, classical Persian music\, the heaviest metal\, or the noisiest fuzz\, Jessika Kenney keenly considers the play of frequencies\, and how song acts as a conduit for words and meaning. Her solo works – as well as projects with her core collaborator Eyvind Kang – offer an audio syncretism that draws from established forms while conjuring new expressions. Her sense of the spectral has been heard in the ensemble of Persian ney master Hossein Omoumi\, as well as at the helm of the Austrian Choir on Sunn O)))’s Monoliths and Dimensions. Though her practice includes many a studied approach\, she finds a continued freedom in musics of rebellion; her brushes with the Indonesian punk scene resonate. \nFor this event\, Kenney will perform her new work\, This Is My House\, a gritty live-electronics-affected sung-recitation of The Persian Poems by Kathy Acker. Through time-bending efforts on both the micro and macro levels – 25 years after Kenney’s initial obsessive readings of Acker’s writing – the fictional process of Janey learning Persian and the actual process of Jessika learning the radif collide. \nOrganized by Tim Leanse
URL:https://www.h-r.la/event/keith-fullerton-whitman-sean-mccann-jessika-kenney/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/04/KFW_HR_site.jpg
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DTSTART;TZID=America/Los_Angeles:20170428T190000
DTEND;TZID=America/Los_Angeles:20170428T220000
DTSTAMP:20170311T215938Z
CREATED:20170311T215404Z
LAST-MODIFIED:20170311T215938Z
UID:2548-1493406000-1493416800@www.h-r.la
SUMMARY:Antiphony\, Otherwise: Friday Joy Night Service
DESCRIPTION:Antiphony\, Otherwise: Friday Joy Night Service \n7:00pm\, April 28\, 2017 \n(FREE) TICKETS \n“Antiphony\, Otherwise: Friday Joy Night Service” is a sound art event that brings together musicians\, singers\, foodies and audiences to intentionally consider the role of the senses in Black religious practice and sacred traditions. To do so\, “Antiphony\, Otherwise” utilizes the Hammond organ instrument with its use in Black Christian worship to be the particular “site” from which questions about gender\, sexuality\, spirit\, enfleshment can emerge. The Hammond instrument and the musician do not work alone but with others\, with the sound of handclaps\, foot stomps\, tambourines ringing and singers. “Antiphony\, Otherwise” consists of three movements: \nI. Singing \nII. Talkback with Musician and Lead Singer \nIII. Eating \nCurated by Ashon Crawley\, Assistant Professor of Ethnic Studies at University of California Riverside\, “Antiphony\, Otherwise” approaches and makes more intentionally considered the concept of the multisensory\, the way Black religious traditions are about feeling as the grounds for practice. “Antiphony\, Otherwise” illustrates how the senses in Black religious spaces are unitary\, how sense experience is one of simultaneity\, how the senses are nondivisional. So to remember and recall the way the Hammond B-3 sounds is also to hear the voices of saints singing and talking\, to remember the tactility and touch of carpet or wooden floors underfoot\, to smell the cooking of food and then\, also and of course\, to taste the fried chicken\, the fish\, the hot sauce. This is why eating will be integral to the show as part of the event itself\, not something occurring “after” we have finished. “Antiphony\, Otherwise” stages the sound of the Hammond B-3 organ to think about sense experience itself. \n“Antiphony\, Otherwise” will be a space of multiple beliefs\, doctrinal and theological positions. It will be an intentionally and explicitly safe space for Christians believers and believers from other religious traditions and sects\, as well as a safe space for agnostics\, atheists\, non-believers and for TQPOC people to gather together and share with one another. \nMusician \nAbdul Hamid Royal: Mr. Royal was recently awarded the coveted OVATION AWARD and LOS ANGELES DRAMA CRITICS CIRCLE AWARD for Best Music Direction for his work on the Los Angeles production of The Gospel At Colonus. He was previously awarded the NAACP IMAGE AWARD for his work on Broadway’s FIVE GUSY NAMED MOE and recently awarded the NAACP Theater Award for Best Musical Direction for his work on THE GOSPEL AT COLONUS. His Broadway credits\, as well as National and International tour credits\, read like a Broadway hit list – Five Guys Named Moe\, Smokey Joe’s Café\, Twist\, Sophisticated Ladies\, Ain’t Misbehavin’\, Jelly’s Last Jam\, The Wiz\, Truly Blessed\, Ma Rainey’s Black Bottom\, Fiddler on the Roof\, Betsy Brown\, Concerts for the Earth\, Colors of Christmas and Sound of Music. Born in Wisconsin\, Royal was raised in the Midwest and began piano lessons at the age of 4 at the Wisconsin Conservatory of Music. He completed a Bachelor of Music in Piano Performance/Jazz Studies at the Wisconsin Conservatory of Music\, received a Masters of Music in Choral Conducting from Northwestern University\, a Master of Theological Studies from the Claremont School of Theology and is currently working on his PhD. He says\, “The sanctified church is my inheritance and gospel music is my culture and the genesis of my musical experience. My first love was the sound of the hand-clapping\, foot-stomping\, tambourine accompanied sounds of the Hammond organ; the Leslie speaker and the click\, click\, click were the pulse of my soul. Then and now\, nothing moves me more than ‘the sound’ of gospel music.” \nSong Leader \nTroy Sanders: Pastor Troy Sanders’ relationship with the divine started when he was a toddler\, preaching on the front porch of his home in Denmark\, South Carolina\, and has served as the bedrock of his faith and ministry. As he grew so did his yearning and zeal for spiritual things\, resulting in a life-long ministry designed to affect the lives of youth and adults. His ministerial background includes over 25 years as a licensed and ordained minister\, and over 15 years of church administration\, where he created training curriculums and modules for leadership development; lecturing; and the development and institutionalization of a gospel choir in his hometown of Denmark. In 2001\, he completed his Bachelor’s of Arts program from Beulah Heights University (Atlanta\, GA) and completed a dual Master’s of Divinity and Masters of Art degree at the Interdenominational Theological Center (Atlanta\, GA). Pastor Troy is the Episcopal Liaison for the Greater Atlanta Area and servers the Executive Committee of The Fellowship Of Affirming Ministries\, under the leadership of Bishop Yvette Flunder\, an international movement of radically inclusive religious organizations committed to promoting liberation and addressing pivotal issues regarding racial\, social\, and economic equity. And he is pastor of Rehoboth Fellowship of Atlanta\, United Church of Christ\, Inc.\, a ministry called to be a 21st century prophetic voice admonishing all to Love God\, Love Self and Love People. \n 
URL:https://www.h-r.la/event/antiphony-otherwise-friday-joy-night-service/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/03/cropped-hammond-1024x685.jpg
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DTSTART;TZID=America/Los_Angeles:20170429T200000
DTEND;TZID=America/Los_Angeles:20170429T200000
DTSTAMP:20170405T230413Z
CREATED:20170329T215045Z
LAST-MODIFIED:20170405T230413Z
UID:2567-1493496000-1493496000@www.h-r.la
SUMMARY:The Experimental Music Yearbook Presents: Carolyn Chen and Happy Valley Band
DESCRIPTION:The Experimental Music Yearbook’s 2016 issue is celebrated with a performance of Carolyn Chen’s Signs of Struggle as well as a special Los Angeles appearance by David Kant’s Happy Valley Band. \nCarolyn Chen “SIgns of Struggle” (2016) photo credit: Daniel Pufe\nCarolyn Chen’s Signs of Struggle is a piece for people listening and reacting to different degrees of uncertainty when given a series of variably cooperative\, weight-sharing tasks. Using Antonioni’s Blow Up and Coppola’s The Conversation as sonic and procedural references\, a choreography of sound\, listening\, and movement is explored by a frequently-blindfolded quartet. Carolyn Chen has made music for supermarket\, demolition district\, and the dark. Her work reconfigures the everyday to retune habits of our ears through sound\, text\, light\, image\, and movement. For a decade she has studied the guqin\, the Chinese 7-string zither traditionally played for private meditation in nature\, which has informed her thinking on listening in social spaces. Recent projects include a marble chase\, an ASL interpreter strung to chimes at a distance\, and commissions for Wild Rumpus and Klangforum Wien. \nThe Happy Valley Band is the Great American Songbook heard through the ear of a machine. Composer / bandleader David Kant uses custom-built machine learning software to “unmix” pop songs and transcribe them back into musical notation. Imagine James Brown backed by a simmering Sun Ra Arkestra\, Madonna with a jittery freak-out synth rhythm section\, and Herb Alpert with a Tijuana Brass that must have been led by Charles Ives. The machine analysis has no concern for the limits of human performance\, and the resulting transcriptions are extremely complex\, literal\, and often impossible to play. The Happy Valley Band\, an ensemble of Bay Area and New York City musicians\, plays what comes out. \nThe Experimental Music Yearbook is a repository for composers\, performers\, and the public to glean the methods and styles of various artists working in the experimental music tradition. As the modes of experimentation in the sonic arts change from year to year\, the Experimental Music Yearbook’s annual issues will build into a comprehensive\, and varied\, database of experimentation in music/sound. Since the inaugural edition in 2009\, the Experimental Music Yearbook has featured contributions from such artists as Tom Johnson\, Bill Dietz\, Tashi Wada\, Cat Lamb\, Vinny Golia\, Jessie Marino\, Julia Holter\, and many\, many more. Along with the three permanent editors (Casey Anderson\, Scott Cazan\, and John P. Hastings)\, each year features a guest editor who provides curatorial direction. The 2016 edition features guest editor Jessie Marino (On Structure\, Ensemble Pamplemousse). Former guest editors have included Michael Pisaro\, Sara Roberts\, Laura Steenberge\, Olivia Block\, and Travis Just. Live performances of contributions have occurred in Los Angeles\, New York\, Chicago\, San Francisco and Cologne\, Germany.
URL:https://www.h-r.la/event/the-experimental-music-yearbook-presents-carolyn-chen-and-happy-valley-band/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/03/ORGANVM-PERCEPTVS-Liner-Notes-Booklet-1_1340_c.jpg
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