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“Grunge Killed Glam Metal” Narrative by Holly Johnson
The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way. -
Rill^ 1980S DC
rill^ 1980S DC rii£!St MTEVOLUTIO N AND EVKllMSTINO KFFK Ai\ liXTEiniKM^ WITH GUY PICCIOTTO BY KATni: XESMITII, IiV¥y^l\^ IKWKK IXSTRUCTOU: MR. HiUfiHT FmAL DUE DATE: FEBRUilRY 10, SOOO BANNED IN DC PHOTOS m AHEcoorts FROM THE re POHK UMOEAG ROUND pg-ssi OH t^€^.S^ 2006 EPISCOPAL SCHOOL American Century Oral History Project Interviewee Release Form I, ^-/ i^ji^ I O'nc , hereby give and grant to St. Andrew's (interviewee) Episcopal School llie absolute and unqualified right to the use ofmy oral history memoir conducted by KAi'lL I'i- M\-'I I on / // / 'Y- .1 understand that (student interviewer) (date) the purpose of (his project is to collect audio- and video-taped oral histories of first-hand memories ofa particular period or event in history as part of a classroom project (The American Century Project). 1 understand that these interviews (tapes and transcripts) will be deposited in the Saint Andrew's Episcopal School library and archives for the use by ftiture students, educators and researchers. Responsibility for the creation of derivative works will be at the discretion of the librarian, archivist and/or project coordinator. I also understand that the tapes and transcripts may be used in public presentations including, but not limited to, books, audio or video doe\imcntaries, slide-tape presentations, exhibits, articles, public performance, or presentation on the World Wide Web at t!ic project's web site www.americaiicenturyproject.org or successor technologies. In making this contract I understand that I am sharing with St. Andrew's Episcopal School librai-y and archives all legal title and literary property rights which i have or may be deemed to have in my inten'iew as well as my right, title and interest in any copyright related to this oral history interview which may be secured under the laws now or later in force and effect in the United States of America. -
Ahead of Their Time
NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending. -
GROOVY TIMES Fanzine Fun Et Punchy
GROOVY TIMES Fanzine Fun et Punchy N°1 Groovy Times, 2020 Times, Groovy TRIMESTRIEL : décembre 2020, janvier, février 2021 Groovy Times, 2020, mise en page Vladimir Arsenic Vladimir page en mise 2020, Times, Groovy Groovy Times : Fanzine Fun et Punchy C’est avec un immense plaisir que l’équipe de Groovy Times vous adresse le N° 1 de son Fanzine. Nous espérons que vous trouverez dans ses rubriques de quoi alimenter votre curiosité, mais aussi et surtout : de quoi oublier pendant quelques L’ÉDITO instants la morosité ambiante générée par le Coronavirus. Si ce Fanzine vous plaît, n’hésitez pas à le partager avec vos amis, nous n’en serons que plus heureux ! Vladimir Arsenic Un fanzine (contraction de l'expression anglaise « fanatic magazine ») est une publication, imprimée ou en ligne, périodique ou non, institutionnellement indépendante, créée et réalisée par des amateurs passionnés pour d'autres passionnés. Ce type de publication est fortement ancré dans la philosophie « Do it yourself » , popularisée par le mouvement punk. Collage : Chachastarlight, 2020 Chachastarlight, : Collage Groovy Times, 2020 : Mise en page Vladimir Arsenic Vladimir page en Mise : 2020 Times, Groovy Groovy Times : Fanzine Fun et Punchy Pages 17, 18, 19, 20 : Le SOMMAIRE de… Pages 22, 23, 24, 25 : FAN L’archéologue des POCHETTES … Page 2 : Le Coin de la CHANSON ENGAGÉE Pages 26, 27 : Voyage en ABSURDIE … Page 3 : Le Monde de L’EPICERIE FINE Pages 28, 29 : Le billet d’humeur de Page 4 : L’art de la REPRISE l’oncle PAUL Pages 5, 6, 7 : Page 30 : Un groupe à la La -
Money, and Power by Shanti Webley
lll.llt: \C(. Sf(. I IIF [t.tP.£~~!" Marilyn Massey makes 10£1.1 f'lllo ~Ill ~.UI· Pitze( svery own R Revolution in · Sex, Money, Interview with F Welcome home' Volume XXVI February 1996 the other side Its confusing. And yet there doesn't seem to time for confusion volume xxvi these days. We've made some changes in this issue of the Other Side. It goes issue #1 without saying that last semester the magazine drew some criticism for its '1ess than objective" crusade against the administration. It's not that I editors-in-chief: feel guilty about that, or even at faull Last semester was a different time, aaron balkan ~~Fm·~~~ll"''r·""·those tmprecedented Pitzer days; where an Wlprecedented 85 degreetempera~· different feelings. I think there were a lot of us who felt compelled to try 11.1 for what seems like WeeiCS; when an Wlprecedented February snn ~ks over Mt. and change some things about Pitzer that we thought were wrong. And quinn burson at just the angle to cut through the smog to convene upon the glorious Inland Valley:.Empire at we weren't wrong for that; perhaps a bit foolish, but certainly not wrong. director of the media lab: F";)~~~: the'Jight spot: Pitzer's campus; not Pomona, not the Oaremont Colleges, but Pitzer. An tmprecedented Its funny, because in retrospect, I don't remember being convinced that matthew cooke thaf makes for unprecedented discussion. On one such day I was walking with a friend when here these "problems" were vealed to me, "If I were a perspective student and I came to Pitzer on a day like this. -
Cosmic Closet Lishments; for the Most Part, They Are Run by Very Nice People Who Are Trying to Give Club & Streetwear for Girls This Music an Outlet
' . Fugazi-Red Medicine "This CD is $8, postpaid." This quote can be found at the bot- boys from D.C. haven't lost the Fugazi ferocity, but it is a bit differ- tom of every one ofFugazi's last five releases, including their latest, ent. Red Medicine. Not much has changed for these messiahs of the in die The vocal tracks seem to be split about evenly between ex-Minor world. All their concerts are still five dollars, and they are still with Threat singer, Ian Mackaye, and Guy Picciotto. Mackaye sings on Dischord Records. Where most bands have managed to catapult "Back to Base," which is probably the most up-to-speed song on the themselves into the big money-making arena, Fugazi manages to album. He opens with ~ distinctive borderline yell, "Autonomy is a do just fine looking out from below. world of difference/ they're creeping around but they know they Red Medicine is undoubtedly Fugazi's most experimental al- can't-come in." bum to-date. But what about old Fugazi? I thought the same thing, The album is filled with a lot of moments with great musical but thinking about it, I realized that being diverse and reinventive value and then some. Highlights include, "Birthday Pony," the in- is a very good thing. Would you want to play the same· kind of.stuff strumental "Combination Lock" and the energetic "Downed City." over and over again? In the album opener, "Do you like me?" the Their tempo has slowed and their concentration on playing good intro sounds like someone is dropping his guitar, setting anticipa- music has intensified. -
Swingin' Through the Music Capital
Proofed by: phadkep Time: 10:46 - 01-19-2007 Separation: C M Y K HIGH-RES PROOF. IMAGES ARE RIPPED. FULL PROOF INTEGRITY. Product: SOURCE LayoutDesk: SOU PubDate: 01-21-07 Zone: DC Edition: EE Page: RDTRIP C M Y K M8 SOURCE 01-21-07 DC EE M8 CMYK M8 Sunday, January 21, 2007 DC x The Washington Post RoadTrip Swingin’ Through the Music Capital WHERE: Alexandria and Washington. Chuck Brown mixed funk with Latin C O N percussion to invent go-go at the N WHY: A lizard king in Old Town, de-funked venues and a military E C long-gone Maverick Room. T IC man. U “Bustin’ Loose” by Chuck Brown T A V E N U HOW FAR: About 17 miles, or one hour with stops. E DISTRICT OF COLUMBIA The house where Duke Ellington was delivered n Washington, the military and presidents seem to garner was torn down to make room for a post office. all of the big monuments, while the area’s musicians are re- “East St. Louis Toodle-Oo” by Duke Ellington duced to the record bin. But not always. On a magical tour of musical landmarks, fans can pay homage to local per- The rowhouse that contains formers, and as a bonus, we’ve supplied a playlist to help re- Beat Records Crooked KALORAMA ROAD e graced the create that live experience (see map for song selections). used to be a commun Singing sensation Marvin Gay , now vacant. 11TH ST. I performance space called Madam al M Howard Theater Let’s start at the end, beautiful friend. -
Dischord Records 3819 BEECHER ST
FUGAZi "First Demo" dischord rEcords DIS181 DIS181CD 11-song CD DIS181V 11-song LP+MP3 Release Date: November 18, 2014 Ian MacKaye - vocals, guitar Guy Picciotto - vocals Joe Lally - bass Brendan Canty - drums In early January 1988 and after only ten shows, Fugazi decided to go into Inner Ear Studio to see what their music sounded like on tape. Despite the fact that Ian, Joe, and Brendan had been playing together for nearly a year, it was still early days for the band. Guy had only been a full member of Fugazi for a few months and only sang lead on one song ("Break In"). It would be nearly another year before he would start playing guitar with the band. At that time, the studio was still located in the basement of engineer Don Zientara's family house. It was a familiar space as almost all of the members of Fugazi had recorded there with their previous bands (Teen Idles, Minor Threat, Deadline, Insurrection, Rites of Spring, Skewbald, Embrace, and One Last Wish). Joey Picuri (aka Joey P), who would later become one of Fugazi's longtime sound engineers, joined the band for the initial tracking. The sessions only lasted a couple of days, but tour dates and indecision about the tape would delay the final mix for another two months. Though the band was at first pleased with the results, it soon became clear that this tape would remain a demo as new songs were being written and the older songs were evolving and changing shape while the band was out on tour. -
Razorcake Issue #25 As A
ot too long ago, I went to visit some relatives back in Radon, the Bassholes, or Teengenerate, during every spare moment of Alabama. At first, everybody just asked me how I was my time, even at 3 A.M., was often the only thing that made me feel N doing, how I liked it out in California, why I’m not mar- like I could make something positive out of my life and not just spend N it mopping floors. ried yet, that sort of thing. You know, just the usual small talk ques- tions that people feel compelled to ask, not because they’re really For a long time, records, particularly punk rock records, were my interested but because they’ll feel rude if they don’t. Later on in the only tether to any semblance of hope. Growing up, I was always out of day, my aunt started talking to me about Razorcake, and at one point place even among people who were sort of into the same things as me. she asked me if I got benefits. It’s probably a pretty lame thing to say, but sitting in my room listen- I figured that it was pretty safe to assume that she didn’t mean free ing to Dillinger Four or Panthro UK United 13 was probably the only records and the occasional pizza. “You mean like health insurance?” time that I ever felt like I wasn’t alone. “Yeah,” she said. “Paid vacation, sick days, all that stuff. But listening to music is kind of an abstract. -
Punk, Confrontation, and the Process of Validating Truth Claims
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 2011 Being in the Know: Punk, Confrontation, and the Process of Validating Truth Claims Christopher Richard Penna Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Philosophy Commons Recommended Citation Penna, Christopher Richard, "Being in the Know: Punk, Confrontation, and the Process of Validating Truth Claims" (2011). Master's Theses. 525. https://ecommons.luc.edu/luc_theses/525 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2011 Christopher Richard Penna LOYOLA UNIVERSITY CHICAGO BEING IN THE KNOW: PUNK, CONFRONTATION, AND THE PROCESS OF VALIDATING TRUTH CLAIMS A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS PROGRAM IN CULTURAL AND EDUCATIONAL POLICY STUDIES BY CHRISTOPHER R. PENNA DIRECTOR: NOAH W. SOBE, PH.D CHICAGO, IL AUGUST 2011 Copyright by Christopher R. Penna, 2011 All rights reserved. ACKNOWLEDGEMENTS I would first like to thank all of the people who helped me a long this process of writing this thesis. I was blessed to have a line of outstanding professors in my program in Cultural Educational Policy Studies at Loyola University Chicago, but I want to thank in particular, Dr. Noah Sobe for advising me and encouraging me to believe that I am not crazy to write about punk. -
Kurt Sayenga Interviewed by John Davis June 13, 2017 Pasadena, California 0:00:00 to 1:22:55
Kurt Sayenga Interviewed by John Davis June 13, 2017 Pasadena, California 0:00:00 to 1:22:55 ________________________________________________________________________ 0:00:00 Sayenga: I’m Kurt Sayenga. Davis: And I’m John Davis. I’m the performing arts metadata archivist at the University of Maryland. Today is June 13th, 2017. So, we're here to talk about your work that you did with fanzines in Washington D.C., particularly in the… Sayenga: My juvenilia, yes. Davis: Yes, [laugh] in the 1980s. I’m basically trying to speak to people to hear their stories about why they did zines, how they did zines. What were the experiences like? What did they take from it? You today, how do you connect to it? All these things. I’m just kind of trying to review that with some people who have done fanzines, who are from D.C. and just see kind of where it took them, as well as how they did it. So as far as Greed goes, first issue was I think 1985? Let’s consult. Sayenga: Good question. I’m going to look it up here. Let’s see. Oh, there’s a picture of—man, late Winter 1986. [laugh] Davis: OK. Very specific. Sayenga: So basically probably almost 1987, which makes it—no, ’86 is right though, because I know it took a while to actually pull it all together. So, well, sort of relatively—it seemed like a while at the time, because everything seemed to take forever. But actually when you look at it, it all flowed together with amazing speed. -
Alt-Nation: New Discs and Summer Shows
Alt-Nation: New Discs and Summer Shows The McGunks – Highlights for Lowlifes Photo by John Capitão It’s been a while since we had some new material from everyone’s favorite pub-punks, The McGunks! They did have a live album last year, but what the world really needed was some fresh new material from The McGoons. The McGunks give The Pogues a run for their money when it comes to drinking songs. That is cool, I like to drink. Highlights for Lowlifes kicks off in vintage McGunks style with “Bad Decision” about staying at the bar a little too long. “Beer and a Beaten’” reminds a little of The Queers with the harmonies. Singer/guitarist Bob Kadlec has a very gruff voice, but he knows how to use it. “Dead to Me” has a fist pumping sing-a-long chorus and a voice that gets you jumping. It reminds me a lot of the second album by Marky Ramone and The Intruders, The Answers to Your Problems, which was an excellent record despite my hatred for the wig man. The McGunks throw a curveball with the instrumental “Halfway to Hell,” which while an enjoyable punk romp, it’s debatable whether that would better be left as something to open shows with. “One for The Road” is a slower mid-tempo that has a tinge of a Supersuckers flavor. “Speaking of Crazy” revs thing back up while serving as an open letter to someone who is apparently bat shit loco. “The Devil Was Right” is a slab of just really well done punk rock and is my favorite tune of the bunch.