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1*1 Library and Archives Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your Tile Votre reference ISBN: 978-0-494-57454-6 Our file Notre reference ISBN: 978-0-494-57454-6 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantias de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1+1 Canada Making a Scene: An Ethnography of Participation in the St. John's Independent Rock Music Scene, circa 1985 to 1995. by © Leslie Pierce A thesis submitted to the School of Graduate Studies In partial fulfillment of the Requirements for the Degree of Master of Arts Folklore Department Memorial University of Newfoundland July 2009 St. John's Newfoundland Abstract This thesis is about participation and the memory culture of the live independent rock music scene in St. John's, Newfoundland, as it existed from the mid-1980s underground to a period of increased interest and popularity in the mid-1990s. Chapter One discusses my fieldwork methodology and applies some key terms used in the study of youth and music culture: subculture, scene, punk, indie, and alternative. Chapter Two places the scene in the context of Newfoundland music and culture, as well as examining its relationship to the culture and landscape of the downtown St. John's core. Chapter Three considers how the scene emerged under global and local influences and how its members participated at the gigs, while Chapter Four considers how musicians and fans participated in the scene in everyday life. Chapter Five presents the life and death of Fred Gamberg as a case study in scene participation and constructed memory. Chapter Six concentrates on various scene members' reflections on a recent past. n Acknowledgements First of all, huge thanks and appreciation to my thesis supervisor, Dr. Philip Hiscock, for his patience, enthusiasm, and attention to detail. Massive thanks to Darryl Bennett, John Fisher, Paul Gruchy, Stephen Hennessey, Shawn Maloney, Sioban Quicke, Rick Power, Lesley Reade, Miranda Reddy, Doug Rowe, Liz Solo, Phil Winters, and Geoff Younghusband, for letting me sit down with you and record your experiences. Thanks to Lisa Abbott, Michael Barclay, Neil Butler, Bob Earle, Matthew Furlong, Darrell Grace, Stephen Guy, Jud Haynes, Krissy Holmes, Rob Kean, Andrew McKim, Frank Nolan, Aileen O'Keefe, Ritche Perez, Kathy Rowe, Rene Rubia, Dan Stewart, Phil van Ulden, and Ray Walsh, for corresponding with me online and around town. On Memorial University campus, thank you to the staff at the MUN Folklore and Language Archive, the Centre for Newfoundland Studies, the QEII library, and Derek Norman at the Digital Research Centre for Qualitative Fieldwork. Thanks to Dr. Holly Everett and Sarah Moore for letting me guest lecture their undergraduate classes about my research, and thanks to the faculty, staff, and students of the Folklore Department. Thanks to Nadine Hodder (a.k.a. Skull), for gently wrestling this thesis out of my hands and proofreading the entire thing, as well as teaching me everything I ever needed to know about metal. Thanks to my fellow student, Lynda Daneliuk, for listening. Thank you to all my friends at Hava Java, the best place in the world to procrastinate and get paid for it. iii Finally, huge thanks to my family and friends, especially my parents, Keith and Mary Pierce, for cheering me through life. Love and kisses to Cookie, for putting up with me during graduate school. You all rock! IV Table of Contents Abstract ii Acknowledgements iii Table of Contents V List of Figures vii Chapter One: Introduction 1 Methodology 4 Autoethnography 6 Additional Sources 7 Labelling the Scene 11 Chapter Two: Art and Rock on the Rock 21 The Downtown St. John's Landscape 31 Downtown and the Arts 35 Punk Rock Comes to Newfoundland 37 Chapter Three: A Scene Emerges 40 The 1980s Scene in St. John's 42 Peace-a-Chord 45 The 1990s Scene in St. John's 48 Hardship Post and Halifax 57 All-Ages vs. Bar Shows 62 The Gig 65 Chapter Four: The Scene in Everyday Life 73 First Shows and First Impressions 76 Aesthetics 79 Hanging Out and Getting Involved 83 Becoming a Musician 90 Band Economics and Band Politics 95 Best Dressed Records and the Danger: Falling Rock Compilation 99 Chapter Five: Fred Gamberg 103 Fred in Life 107 Fred in Death 113 Fred Remembered 121 Chapter Six: Fuck the Glory Days! 125 The "End" of the Scene 126 The End of Peace-a-Chord 128 Getting Older 131 Technology and Communication 139 Conclusion 144 V Works Cited 146 Appendix A - Bands 156 Appendix B - Interview Questions 157 Appendix C - Map of Downtown St. John's Core. 158 Appendix D - Contemporary Websites 159 VI List of Figures* Figure 1: Poster for all-ages shows, LSPU Hall, March 1996. Figure 2: Poster for last Ditch show, September 1994. Figure 3: Poster for all-ages show followed by bar show, LSPU Hall, December 1995. Figure 4: Bar show poster, The Loft, July 1995. Figure 5: Poster for bar show, The Cornerstone, March 1995. Figure 6: Poster for all-ages show, LSPU Hall, August 1990. Figure 7: Poster for Thomas Trio and the Red Albino bar show, Bridgett's, June 1990. Figure 8: Poster for Peace-a-Chord benefit, LSPU Hall, August 1994. Figure 9: Poster for Bung and Lizband bar show, the Cornerstone, February 1993. Figure 10: Poster for CHMR all-ages and bar show fundraisers, The Loft, February 1995. Figure 11: Poster for bar show, The Loft, mid-1990s. Figure 12: Poster for Danger: Falling Rock compilation tape release party, Junctions, December 1994. Figure 13: Photograph of Fred Gamberg mural, corner of Prescott and Duckworth, circa 2006. Figure 14: Poster for Fred Gamberg memorial show, the Loft, July 1995. Figure 15: Poster for sHeavy bar show, The Edge, May 1997. * Collector information listed on figures. vn Chapter One Introduction This thesis is about the live independent rock music scene in downtown St. John's, Newfoundland, as it existed roughly between the mid-1980s and mid- 1990s. At the beginning of this time period, a handful of dedicated and artistically inclined young musicians and their fans were "making" a scene, forming a network of people, places, and events that allowed them to create, to belong, and to be heard. By the 1990s, the number of scene members increased from a few dozen to hundreds. Both all-ages and bar shows1 were thriving within a downtown-centred community, although there was a noticeable decline in interest later in the decade. It was a remarkable period of creative output in terms of regular live musical performances, releases of local recordings, and other artistic offerings. The local media gave the scene considerable coverage, but the scene still remained underground, known to relatively few beyond the downtown St. John's neighbourhood. Bands playing at the shows this thesis investigates primarily performed original songs, fusing together musical styles like punk, heavy metal, reggae, pop, hardcore, experimental, and industrial music for a live, local youth audience.2 To refer to this as a "live independent rock music scene" is intentionally ambiguous. The music performed at the shows encompassed a variety of musical genres, but the scene's importance to its participants went deeper than affection for a All-ages shows are alcohol-free live music events with no age restrictions. Bar shows are restricted to patrons of legal drinking age (19 years old in Newfoundland). This is discussed in greater detail in Chapter Four. 2 For a more detailed list of bands active during this time period, see Appendix A. 1 particular musical style. It became woven into their daily lives, inspiring other creative endeavours, and connecting them with others. Figure 1: Poster for weekend all-ages shows at the LSPU Hall, March 1996. Collected by Darryl Bennett. The 1980s and 1990s were exciting times to be a consumer of live independent rock music on a local, national, and international level, and St. John's was no exception. Although this thesis is about a comparatively small regional rock scene, constructed and experienced by Newfoundland youth, there were obvious correlations between this and other burgeoning local scenes that were documented in popular culture at that time, especially the American indie underground of the 1980s and the booming Seattle scene of the 1990s (Azerrad 2002; Yarm 2008).
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