The Wire: Repeat Offenders
2015.05.17 02:00-04:00 pm
华侨城创意园北区A3+ A3+, North District of OCT-LOFT
《The Wire》杂志主编。自上个世纪70年代晚期，他开始以其本名或笔名Biba Kopf在《Melody Maker》、《New Musical Express》（NME）、伦敦的《City Limits》、《Electronic Beats》等报刊与杂志上发表关于另类音乐、独立音乐和地下音乐的乐评，偶尔也会写影评。
自从1982年《The Wire》杂志创立以来，它一直追随着全世界各种非正统音乐的脉动而发展，从另类音乐、实验音乐、先锋音乐、地下音乐到甚至更加边缘化的音乐，风格涵盖自由爵士、即兴演奏、20世纪作曲，又从House、Techno、Jungle、Grime等舞曲形式，到工业音乐、黑金属和噪音等等。一些因其反主流和极端的天性而不为人们所广泛接受的音乐人和艺术家都曾获得过《The Wire》的赞誉。发展至今，《The Wire》已经形成了一种特有的批判姿态，不仅批判着它所记录的文化，也批判着社会的主流。在本次讲座中，Chris Bohn将会略述《The Wire》35年的历史，并会将重点放在《The Wire》与非正统音乐彼此之间步履不停的追逐与被追逐的故事。
Editor of The Wire magazine
Since the late 1970s, under his own name or as Biba Kopf, he has written about alternative, independent or underground music and, occasionally, cinema from around the world for Melody Maker, New Musical Express, London’s City Limits magazine, Electronic Beats, and more.
The Wire is undoubtedly the most important contemporary music magazine in this world.
Since it was founded in 1982, The Wire magazine has been chasing the pulse of alternative, experimental, avant garde, underground or outsider music all around the world and across all forms of musical expression, from free jazz, improvisation and 20th century composition, through house, techno, jungle and grime, to industrial culture, black metal and noise. The magazine has championed a wide circle of musicians and artists, some of whose work has been widely condemned for its anti-mainstream or extreme nature. Over time The Wire has developed its own critical position that sometimes puts the magazine at odds both with the cultures it documents and society at large. Chris Bohn’s talk Repeat Offenders skips through 35 years of the magazine’s history, most of the time in pursuit of the pulse, but every now and again being pursued by it.