DOCSLIB.ORG

Taking New Feminist Youth Subcultures Seriously by Angela Wilson Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Taking New Feminist Youth Subcultures Seriously by Angela Wilson Art After the Riot: Taking new feminist youth subcultures seriously By Angela Wilson Art History and Communication Studies, McGill University, Montreal August 2004 A thesis submitted to McGill University in partial fuI filment of the requirements of the degree of Master of Arts. ©Angela Wilson Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 0-494-06538-9 Our file Notre référence ISBN: 0-494-06538-9 NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell th es es le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. ln compliance with the Canadian Conformément à la loi canadienne Privacy Act some supporting sur la protection de la vie privée, forms may have been removed quelques formulaires secondaires from this thesis. ont été enlevés de cette thèse. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. ••• Canada This thesis argues that in North America since the late 1980s, young women's interest in feminism has been expressed through participation in feminist music subcultures. The project provides an overview of the studies of culture, musical subculture, and gender and music making, as weIl as an historical context of feminism and a discussion of the relationship between second and third wave feminism. The first case study explores Riot Grrrl's roots in the DIY activism ofDC hardcore punk, its links to the female-oriented indie music scene of Olympia, Washington, and the subculture' suse of alternative media. The second study examines efforts to integrate queer politics into third wave feminism through lesbian punk rock music subculture. The final study of electronic feminist punk rock examines how young feminists use alternative media such as zines, internet message boards, web sites, music making, and performance to educate young women about sexual abuse and homophobia. Analysis of the Riot Grrrl, lesbian punk rock, and electronic feminist punk rock subcultures demonstrates how young women claim spaces for their own feminist politics, even if they have go ne relatively undetected by the mainstream culture. Cette thèse a pour but d'arguer du fait qu'en Amérique du Nord depuis la fin des années 1980, l'intérêt des jeunes femmes en le féminisme a été exprimé par leur participation en sous-cultures de musique féministe. Le projet fournit une vue d'ensemble des études de cette culture, la sous­ culture musicale, les sexes et la musique, ainsi qu'un contexte historique du féminisme et une discussion du rapport entre la deuxième et la troisième vague de féminisme. La première étude explore les racines de Riot Grrrl, dans l'activisme du punk hardcore DIYen D.C, ses liens à la scène feminine de musique d'indie d'Olympia à Washington, et de l'utilisation de sous-cultures des médias alternatifs. La deuxième étude examine les efforts d'intégrer la politique gaie dans la troisième vague de féminisme par la sous-culture lesbienne de musique punk. L'étude finale du punk féministe électronique examine la façon dont les jeunes féministes emploient des médias alternatifs tels que les zines, les panneaux de message d'internet, les sites internet, la musique et les concerts pour instruire les jeunes femmes au sujet de l'abus sexuel et l 'homophobie. L'analyse de Riot Grrrl, de la musique punk lesbienne, et des cultures secondaires féministes de musique punk électronique, démontre comment les jeunes femmes réclament l'espace pour leur propre politique féministe, même si cette politique est relativement non détectée par la culture traditionnelle. 11 Acknowledgments As much as l have been somewhat of a recluse for the past two years, l'd like to thank everyone who has shawn interest in my research and writing, listened ta music with me, and even those who have been a we1come distraction! Thank you ta my parents for encouraging me and for instilling in me a thirst for knowledge and a love of music. Special thanks ta Jesse Staniforth for discussing music sa passionately with me, and for his dedication ta making me smile even during the most stressful times. Also thanks for editing a particularly tough section, and for always inspiring me to go the distance. Thanks ta Michelle Levy for all the much-needed venting and for breakfasts at Bagels, Etc. Wade Nelson and Samantha Thrift, thanks for showing me that it's possible ta get a thesis written and still remain sane. Thanks ta Jennifer Fisher for her support in the beginning, and ta Craig Morrison, who was one of the first ta show me that it's possible to make a career out of writing and talking about music. Thanks ta Kathleen Hanna, JD Samson, Joanna Fateman and Beth Ditto for the interviews, and for confirming my suspicion that in addition to being talented musicians, they are really great people, tao. Many thanks ta my advisor, Will Straw, for his valuable advice and friendly support. And finally, thanks ta all the women out there making exciting music and inspiring others to do the same. 111 Table of Contents Abstract .................................................................................................... .i Acknowledgernents ................................................................................ .ii Table of Contents ............................................................... iii Introduction ............................................................................................. 1 Chapter One: Points of Departure Cultural Studies: Culture is Ordinary ...................................................... 7 Studying Subcultures ................................................................................. 9 The Birmingham School .. .......................................................................... 10 Challenging the Birmingham Tradition .................................................... 12 Subculture and Music ................................................................................ 17 Musical Subcultures and Gender .............................................................. 18 Music and Femininity ................................................................................ 23 Feminism and Punk Subcu/ture ................................................................. 26 Chapter Two: Ferninist Texts and Contexts The Origins ofSecond Wave Feminism ..................................................... 29 Third Wave Feminism ................................................................................ 30 Generational Tensions ............................................................................... 33 Did the Popular Media Kil! Feminism? .................................................... 37 Chapter Three: The Origins and The Legacy of Riot Grrrl Subculture Introduction ................................................................................................ 39 Origins: Riot Grrri and the Punk Rock Community .................................. .39 Riot Grrrls Claim a Spacefor Women ...................................................... .49 Riot Grrrl and Feminism ......................· ...................................................... 53 Riot Grrrl as Musical Subculture ............................................................... 58 Mainstreaming Grrri Revolution ................................................................ 60 Chapter Four: Lesbian Punk Rock as Ferninist Youth Subculture Introduction ................................................................................................. 66 Roots: Womyn 's Music and Separatist Feminism ....................................... 67 Contexts: Punk rock, Riot Grrrl, queercore, zine culture ........................... 74 Dykecore and the Popular Media ................................................................ 76 Feminism and Dykecore Subculture ............................................................ 79 Queer Politics in Dykecore Subculture ........................................................ 85 After the Riot................................................................................................ 87 Chapter 5: Electronic Ferninist Punk Music as Youth Subculture Introduction .................................................................................................
Load more

Recommended publications
  • Reactionary Postmodernism? Neoliberalism, Multiculturalism, the Internet, and the Ideology of the New Far Right in Germany
    University of Vermont ScholarWorks @ UVM UVM Honors College Senior Theses Undergraduate Theses 2018 Reactionary Postmodernism? Neoliberalism, Multiculturalism, the Internet, and the Ideology of the New Far Right in Germany William Peter Fitz University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/hcoltheses Recommended Citation Fitz, William Peter, "Reactionary Postmodernism? Neoliberalism, Multiculturalism, the Internet, and the Ideology of the New Far Right in Germany" (2018). UVM Honors College Senior Theses. 275. https://scholarworks.uvm.edu/hcoltheses/275 This Honors College Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM Honors College Senior Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. REACTIONARY POSTMODERNISM? NEOLIBERALISM, MULTICULTURALISM, THE INTERNET, AND THE IDEOLOGY OF THE NEW FAR RIGHT IN GERMANY A Thesis Presented by William Peter Fitz to The Faculty of the College of Arts and Sciences of The University of Vermont In Partial Fulfilment of the Requirements For the Degree of Bachelor of Arts In European Studies with Honors December 2018 Defense Date: December 4th, 2018 Thesis Committee: Alan E. Steinweis, Ph.D., Advisor Susanna Schrafstetter, Ph.D., Chairperson Adriana Borra, M.A. Table of Contents Introduction 1 Chapter One: Neoliberalism and Xenophobia 17 Chapter Two: Multiculturalism and Cultural Identity 52 Chapter Three: The Philosophy of the New Right 84 Chapter Four: The Internet and Meme Warfare 116 Conclusion 149 Bibliography 166 1 “Perhaps one will view the rise of the Alternative for Germany in the foreseeable future as inevitable, as a portent for major changes, one that is as necessary as it was predictable.
    [Show full text]
  • Alternative Media As Activist Media
    Stream: Culture/Politics/Technology, 7(1), 23-33 http://journals.sfu.ca/stream Rising Above: Alternative Media as Activist Media Benjamin Anderson School of Communication Simon Fraser University Abstract This paper asserts that truly activist media must be dually committed to critical education and to political action. Whereas my previous work has focused on the need for activist media to challenge media power from within, it is my goal here to build a model of activist media characterized by di- rect action through engagement in critical education and activism in both content and production. Such a model will provide insight both into the limitations of previous research on the oppositional potential of alternative media and into the challenge facing alternative media scholars and practi- tioners alike – that of rising above the noise of the dominant media of the cultural industry in order to communicate for radical social change. Keywords Alternative media, activist media, critical theory Introduction “[God] could alter even the past, unmake what had really happened, and make real what had never happened. As we can see, in the case of enlightened newspaper edi- tors, God is not needed for this task; a bureaucrat is all that is reQuired.” -Walter Benjamin, Journalism Today's culture industry both shapes and reinforces the social totality. In contemporary media we see the limits of accepted reason, wherein the status Quo imposes itself as the one and only reality, the limits of human action and the culmination of a unified, linear history of human progress (Horkheimer & Adorno 2002). Just as the capitalist order enjoys the uncanny ability to co-opt dissi- dence and resistance, so too does the culture industry reappropriate creative resistance – in the commercialization of radical resources, the mass mediated smearing of radical voices, and the ab- sorption (or dissolution) of alternative media channels through economic strangulation.
    [Show full text]
  • Dissertation
    DISSERTATION Titel der Dissertation “We’re Punk as Fuck and Fuck like Punks:”* Queer-Feminist Counter-Cultures, Punk Music and the Anti-Social Turn in Queer Theory Verfasserin Mag.a Phil. Maria Katharina Wiedlack angestrebter akademischer Grad Doktorin der Philosophie (Dr. Phil.) Wien, Jänner 2013 Studienkennzahl lt. Studienblatt: A 092 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin / Betreuer: Univ. Prof.in Dr.in Astrid Fellner Earlier versions and parts of chapters One, Two, Three and Six have been published in the peer-reviewed online journal Transposition: the journal 3 (Musique et théorie queer) (2013), as well as in the anthologies Queering Paradigms III ed. by Liz Morrish and Kathleen O’Mara (2013); and Queering Paradigms II ed. by Mathew Ball and Burkard Scherer (2012); * The title “We’re punk as fuck and fuck like punks” is a line from the song Burn your Rainbow by the Canadian queer-feminist punk band the Skinjobs on their 2003 album with the same name (released by Agitprop Records). Content 1. Introduction .......................................................................................................... 1 2. “To Sir With Hate:” A Liminal History of Queer-Feminist Punk Rock ….………………………..…… 21 3. “We’re punk as fuck and fuck like punks:” Punk Rock, Queerness, and the Death Drive ………………………….………….. 69 4. “Challenge the System and Challenge Yourself:” Queer-Feminist Punk Rock’s Intersectional Politics and Anarchism……...……… 119 5. “There’s a Dyke in the Pit:” The Feminist Politics of Queer-Feminist Punk Rock……………..…………….. 157 6. “A Race Riot Did Happen!:” Queer Punks of Color Raising Their Voices ..……………..………… ………….. 207 7. “WE R LA FUCKEN RAZA SO DON’T EVEN FUCKEN DARE:” Anger, and the Politics of Jouissance ……….………………………….………….
    [Show full text]
  • Critical Literacy Seems Really Interesting, but Why Talk About Menstruation?
    “Critical literacy seems really interesting, but why talk about menstruation?” A critical literacy approach to teaching and learning about menstruation Shire Agnew A thesis submitted for the degree of Doctorate of Philosophy at the University of Otago College of Education, Dunedin, New Zealand June 2017 Abstract For the majority of young people, puberty and sexuality education is an important source of information about menstruation. Menstruation is part of the Positive Puberty unit, Year Six to Eight in the New Zealand Health and Physical Education curriculum. The Positive Puberty unit states that students develop a positive attitude towards the changes occurring at puberty. However, dominant discourse of shame and secrecy still construct menstruation as a worrisome event that must remain hidden from awareness. I argue that a different approach to the teaching of menstruation is necessary if we are to achieve outcomes that construct puberty, particularly menstruation, in a positive way. This research uses a critical literacy where teachers and students mutually investigate a variety of possible multiple readings (re)created in the texts of print advertising produced by menstrual companies. Teachers and students from Year Seven and Eight (ages 11-12) made up the participants of this study. The teachers attended two workshops to explore menstruation and critical literacy, and mutually construct lesson plans for an observed classroom lesson with each participating teacher. From each classroom a mixed-gendered group of six students took part in pre and post-lesson interviews, and the teachers all participated in exit interviews. All workshops and interviews were audio-recorded and transcribed, and the transcriptions along with my field notes of the lesson and their activity sheets made up the data of this research.
    [Show full text]
  • Tom Rubnitz / Dynasty Handbag
    TOM RUBNITZ / DYNASTY HANDBAG 9/25/2012 PROGRAM: TOM RUBNITZ The Mother Show, video, 4 mins., 1991 Made for TV, video, 15 mins., 1984 Drag Queen Marathon, video, 5 mins., 1986 Strawberry Shortcut, video, 1:30 mins., 1989 Pickle Surprise, video, 1:30 mins., 1989 DYNASTY HANDBAG The Quiet Storm (with Hedia Maron), video, 10 mins., 2007 Eternal Quadrangle, video, 20 mins., 2012 WHITE COLUMNS JIBZ CAMERON JOSH LUBIN-LEVY What does it mean to be a great performer? In a rather conventional sense, great performing is often associated with a sense of interiority, becoming your character, identifying with your role. In that sense, a great performer could become anyone else simply by looking deep within herself. Of course, there’s a long history of performance practices that reject this model. Yet whether it is a matter of embracing or rejecting what is, so to speak, on the inside, there is an overarching belief that great performers are uniquely adept at locating themselves and using that self to build a world around them. It is no surprise then that today we are all expected to be great performers. Our lives are filled the endless capacity to shed one skin for another, to produce multiple cyber-personalities on a whim. We are hyperaware that our outsides are malleable and performative—and that our insides might be an endless resource for reinventing and rethinking ourselves (not to mention the world around us). So perhaps it’s almost too obvious to say that Jibz When I was a youth, say, about 8, I played a game in the Cameron, the mastermind behind Dynasty Handbag, is an incredible woods with my friend Ocean where we pretended to be hookers.
    [Show full text]
  • Download PDF > Riot Grrrl \\ 3Y8OTSVISUJF
    LWSRQOQGSW3L / Book ~ Riot grrrl Riot grrrl Filesize: 8.18 MB Reviews Unquestionably, this is actually the very best work by any article writer. It usually does not price a lot of. Once you begin to read the book, it is extremely difficult to leave it before concluding. (Augustine Pfannerstill) DISCLAIMER | DMCA GOKP10TMWQNH / Kindle ~ Riot grrrl RIOT GRRRL To download Riot grrrl PDF, make sure you refer to the button under and download the document or gain access to other information which might be related to RIOT GRRRL book. Reference Series Books LLC Jan 2012, 2012. Taschenbuch. Book Condition: Neu. 249x189x10 mm. Neuware - Source: Wikipedia. Pages: 54. Chapters: Kill Rock Stars, Sleater-Kinney, Tobi Vail, Kathleen Hanna, Lucid Nation, Jessicka, Carrie Brownstein, Kids Love Lies, G. B. Jones, Sharon Cheslow, The Shondes, Jack O Jill, Not Bad for a Girl, Phranc, Bratmobile, Fih Column, Caroline Azar, Bikini Kill, Times Square, Jen Smith, Nomy Lamm, Huggy Bear, Karen Finley, Bidisha, Kaia Wilson, Emily's Sassy Lime, Mambo Taxi, The Yo-Yo Gang, Ladyfest, Bangs, Shopliing, Mecca Normal, Voodoo Queens, Sister George, Heavens to Betsy, Donna Dresch, Allison Wolfe, Billy Karren, Kathi Wilcox, Tattle Tale, Sta-Prest, All Women Are Bitches, Excuse 17, Pink Champagne, Rise Above: The Tribe 8 Documentary, Juliana Luecking, Lungleg, Rizzo, Tammy Rae Carland, The Frumpies, Lisa Rose Apramian, List of Riot Grrl bands, 36-C, Girl Germs, Cold Cold Hearts, Frightwig, Yer So Sweet, Direction, Viva Knievel. Excerpt: Riot grrrl was an underground feminist punk movement based in Washington, DC, Olympia, Washington, Portland, Oregon, and the greater Pacific Northwest which existed in the early to mid-1990s, and it is oen associated with third-wave feminism (it is sometimes seen as its starting point).
    [Show full text]
  • PDF Transition
    ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:” ! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN PERICH! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! A Dissertation! Presented to the Faculty of the Graduate School! of Cornell University! in Partial Fulfillment of the Requirements for the Degree of! Doctor of Musical! Arts! ! ! by! David Benjamin Friend! May 2019! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2019 David Benjamin! Friend! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:”! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN! PERICH! ! David Benjamin Friend, D.M.A.! Cornell University,! 2019! ! !This dissertation examines the life and work of Tristan Perich, with a focus on his works for keyboard instruments. Developing an understanding of his creative practices and a familiarity with his aesthetic entails both a review of his personal narrative as well as its intersection with relevant musical, cultural, technological, and generational discourses. This study examines relevant groupings in music, art, and technology articulated to Perich and his body of work including dorkbot and the New Music Community, a term established to describe the generationally-inflected structural shifts! in the field of contemporary music that emerged in New York City in the first several years of the twenty-first century. Perich’s one-bit electronics practice is explored, and its impact on his musical and artistic work is traced across multiple disciplines and a number of aesthetic, theoretical, and technical parameters. This dissertation also substantiates the centrality of the piano to Perich’s compositional process and to his broader aesthetic cosmology. A selection of his works for keyboard instruments are analyzed, and his unique approach to keyboard technique is contextualized in relation to traditional Minimalist piano techniques and his one-bit electronics practice." ! ! BIOGRAPHICAL! SKETCH! ! !! !David Friend (b.
    [Show full text]
  • Complete Band and Panel Listings Inside!
    THE STROKES FOUR TET NEW MUSIC REPORT ESSENTIAL October 15, 2001 www.cmj.com DILATED PEOPLES LE TIGRE CMJ MUSIC MARATHON ’01 OFFICIALGUIDE FEATURING PERFORMANCES BY: Bis•Clem Snide•Clinic•Firewater•Girls Against Boys•Jonathan Richman•Karl Denson•Karsh Kale•L.A. Symphony•Laura Cantrell•Mink Lungs• Murder City Devils•Peaches•Rustic Overtones•X-ecutioners and hundreds more! GUEST SPEAKER: Billy Martin (Medeski Martin And Wood) COMPLETE D PANEL PANELISTS INCLUDE: BAND AN Lee Ranaldo/Sonic Youth•Gigi•DJ EvilDee/Beatminerz• GS INSIDE! DJ Zeph•Rebecca Rankin/VH-1•Scott Hardkiss/God Within LISTIN ININ STORESSTORES TUESDAY,TUESDAY, SEPTEMBERSEPTEMBER 4.4. SYSTEM OF A DOWN AND SLIPKNOT CO-HEADLINING “THE PLEDGE OF ALLEGIANCE TOUR” BEGINNING SEPTEMBER 14, 2001 SEE WEBSITE FOR DETAILS CONTACT: STEVE THEO COLUMBIA RECORDS 212-833-7329 [email protected] PRODUCED BY RICK RUBIN AND DARON MALAKIAN CO-PRODUCED BY SERJ TANKIAN MANAGEMENT: VELVET HAMMER MANAGEMENT, DAVID BENVENISTE "COLUMBIA" AND W REG. U.S. PAT. & TM. OFF. MARCA REGISTRADA./Ꭿ 2001 SONY MUSIC ENTERTAINMENT INC./ Ꭿ 2001 THE AMERICAN RECORDING COMPANY, LLC. WWW.SYSTEMOFADOWN.COM 10/15/2001 Issue 735 • Vol 69 • No 5 CMJ MUSIC MARATHON 2001 39 Festival Guide Thousands of music professionals, artists and fans converge on New York City every year for CMJ Music Marathon to celebrate today's music and chart its future. In addition to keynote speaker Billy Martin and an exhibition area with a live performance stage, the event features dozens of panels covering topics affecting all corners of the music industry. Here’s our complete guide to all the convention’s featured events, including College Day, listings of panels by 24 topic, day and nighttime performances, guest speakers, exhibitors, Filmfest screenings, hotel and subway maps, venue listings, band descriptions — everything you need to make the most of your time in the Big Apple.
    [Show full text]
  • 2011 – Cincinnati, OH
    Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
    [Show full text]
  • The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
    Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC).
    [Show full text]
  • Title Page.Pages
    Cross-dressing to Backbeats: An Exploration of the Practices, Wo/men Producers, and History of Electroclash David Madden A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication) at Concordia University Montreal, Québec, Canada September 2013 © David Madden, 2013 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: David Madden Entitled: Cross-dressing to Backbeats: An exploration of the practices, Wo/men producers and History to Electroclash and submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY (Communication) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. U. Shalev External Examiner Dr. J. Sterne External to Program Dr. J. Camlot Examiner Dr. C. Acland Examiner Dr. K. Sawchuk Thesis Supervisor Dr. A. McCartney Approved by Chair of Department or Graduate Program Director Dr. W. Buxton, Graduate Program Director August 19, 2013 Professor J. Locke, Interim Dean Faculty of Arts and Science ABSTRACT Cross-dressing to Backbeats: An Exploration of the Practices, Wo/men Producers, and History of Electroclash David Madden, Ph.D Concordia University, 2013 This research-creation dissertation focuses on the emergence of electroclash as a dominant form of electronic dance music in the late 1990s and early 2000s. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony.
    [Show full text]
  • Disidentification and Evolution Within Riot Grrrl Feminism Lilly Estenson Scripps College
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2012 (R)Evolution Grrrl Style Now: Disidentification and Evolution within Riot Grrrl Feminism Lilly Estenson Scripps College Recommended Citation Estenson, Lilly, "(R)Evolution Grrrl Style Now: Disidentification and Evolution within Riot Grrrl Feminism" (2012). Scripps Senior Theses. Paper 94. http://scholarship.claremont.edu/scripps_theses/94 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. (R)EVOLUTION GRRRL STYLE NOW: DISIDENTIFICATION AND EVOLUTION WITHIN RIOT GRRRL FEMINISM by LILLY ESTENSON SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR CHRIS GUZAITIS PROFESSOR KIMBERLY DRAKE April 20, 2012 Estenson 1 Table of Contents Introduction ---------------------------------------------------------------------------------------- 2 Chapter 1: Contextualizing Riot Grrrl Feminism ---------------------------------------- 20 Chapter 2: Feminist Praxis in the Original Riot Grrrl Movement (1990-96) ------- 48 Chapter 3: Subcultural Disidentification and Contemporary Riot Grrrl Praxis --- 72 Conclusion ----------------------------------------------------------------------------------------- 97 Works Cited -------------------------------------------------------------------------------------
    [Show full text]