This September, don’t miss these four music documentaries, screening FREE in WTJU’s event space at 2244 Ivy Road, Charlottesville:
- Wed, Sept 4, 8 p.m. – From the Back of the Room
- Wed, Sept 11, 8 p.m. – Unconscious Therapy: The Mind, Body & Soul of House Music
- Wed, Sept 18, 8 p.m. – We Like it Like That: The Story of Latin Boogaloo
- Wed, Sept 25, 8 p.m. – Punk in Africa
Each event is free of charge and is open to UVA students, staff, and faculty, and anyone else who has a JMRL library card.
Popcorn & soft drinks available.
FROM THE BACK OF THE ROOM
Wed, Sept 4, 8 p.m.
This documentary chronicles the past 30 years of female involvement in DIY punk, and has interviews with over 30 women from across the country, ages 17 to 40. Race, gender, sexuality, motherhood, class, and activism are all addressed in this film, giving a more complete picture of how these women participate in the DIY community, and how it affects their daily lives.
UNCONSCIOUS THERAPY: The Mind, Body & Soul of House Music
Wed, Sept 11, 8 p.m.
When they broke all those records in Comiskey Park and they declared disco dead, I watched all these discos in Chicago collapse. […] There was this void and for whatever reason the people in Chicago were most anxious to fill that void.” The story of Frankie Knuckles and the birth of House music in Chicago.
We Like it Like That: The Story of Latin Boogaloo
Wed, Sept 18, 8 p.m.
Once on the verge of leaving Latin music behind, the city’s young Latinos come to appreciate the music’s roots through boogaloo. But as salsa, a more traditional style of Latin music, grows in popularity by the 1970s, some say the Latin boogaloo is killed off, not by the fans, but by cultural and industry politics.
PUNK IN AFRICA
Wed, Sept 25, 8 p.m.
In this program, we are taking a trip to a time and a place where punk had a very different meaning, exploring the music and the legacy of the mixed race bands that challenged apartheid. Little known to the outside world, and often overlooked even within South Africa, groups like National Wake, The Genuines, and The Kalahari Surfers used music to articulate their disgust with the society around them, calling out the conformity, repression, and political hypocrisy that defined the apartheid era.