DEAD KENNEDYS D/B/A Decay Music, a California General
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
April's Fools
APRIL'S FOOLS ' A LOOK AT WHAT IS REAL f ( i ON IN. TOWN NEWS VIEWS . REVIEWS PREVIEWS CALENDARS MORMON UPDATE SONIC YOUTH -"'DEOS CARTOONS A LOOK AT MARCH frlday, april5 $7 NOMEANSNO, vlcnms FAMILYI POWERSLAVI saturday, april 6 $5 an 1 1 piece ska bcnd from cdlfomb SPECKS witb SWlM HERSCHEL SWIM & sunday,aprll7 $5 from washln on d.c. m JAWBO%, THE STENCH wednesday, aprl10 KRWTOR, BLITZPEER, MMGOTH tMets $10raunch, hemmetal shoD I SUNDAY. APRIL 7 I INgTtD, REALITY, S- saturday. aprll $5 -1 - from bs aqdes, califomla HARUM SCAIUM, MAG&EADS,;~ monday. aprlll5 free 4-8. MAtERldl ISSUE, IDAHO SYNDROME wedn apri 17 $5 DO^ MEAN MAYBE, SPOT fiday. am 19 $4 STILL UFEI ALCOHOL DEATH saturday, april20 $4 SHADOWPLAY gooah TBA mday, 26 Ih. rlrdwuhr tour from a land N~AWDEATH, ~O~LESH;NOCTURNUS tickets $10 heavy metal shop, raunch MATERIAL ISSUE I -PRIL 15 I comina in mayP8 TFL, TREE PEOPLE, SLaM SUZANNE, ALL, UFT INSANE WARLOCK PINCHERS, MORE MONDAY, APRIL 29 I DEAR DICKHEADS k My fellow Americans, though:~eopledo jump around and just as innowtiwe, do your thing let and CLIJG ~~t of a to NW slam like they're at a punk show. otherf do theirs, you sounded almost as ENTEIWAINMENT man for hispoeitivereviewof SWIM Unfortunately in Utah, people seem kd as L.L. "Cwl Guy" Smith. If you. GUIIBE ANIB HERSCHELSWIMsdebutecassette. to think that if the music is fast, you are that serious, I imagine we will see I'mnotamemberofthebancljustan have to slam, but we're doing our you and your clan at The Specks on IMVIEW avid ska fan, and it's nice to know best to teach the kids to skank cor- Sahcr+nightgiwingskrmkin'Jessom. -
Struggle. Self-Determination Socialism
STRUGGLE. SELF-DETERMINATION SOCIALISM [roTEM 2S$3 R ffiffi i,ffi 9/11 0ne Year later: "And We're Not Going Back!" Full-Spectrum Entropy: The thoughts of a NYC Paramedic 5 I m mig ra nt Wo rke rs Re bu ild Special 0perations in by James Creedon M ove me nt fo r Le g a lizati on 12 a Special Period 2A by Bill Gallegos by Stan Goff Gampus Workers in Knoxville, TN Stand Up Colombian Defend Jose Maria Sison! "With the Union We Can Play Trade Unionists: As the US Targets An Unending Slaughter a Part in lur 1wn Destiny" 7 15 the Philippines 24 tett by Chad Negendank by Cro:b) by Doug Wordell Building a Union from Scratch: An lnteruiew with The Struggle to 0rganize Comandante Raril Reyes' : U nive rsity H o use ke e pe rs ol the FARC : . 18 in North Carolina 10 by Chip Smith SPEGIAT $=GTIOIU ffiffiwffiffiw ffiffiwffi Max Elbaum's EDITORIAL LOGOMOTTOTU Revolution ln the Air As We Face a New War, "Remember To Let's Not Forget the Kick lt Over" 40 The Fire Last Time: Lessons of the Old Wars by Scott MX Turner A New Geseration Reads BAGK IIU THE I'AY Bevolation in the Air PRISOIUER OF 42 by Christopher Day The Chicano Moratorium rHE ISSUE by Dennis O'Neil Jos6 Solis Jordan and GULTURE ?s State Repression Today leessegp,1gq4tpflMa.qigry, .".,: : 38 The Switch (a short story) 40 by Khalil Has$ah by Michelle Foy by Terry Bisson They Wanted to Serve The ?eople; Chicanos asd the Fight against EDITOR TRANSLATION SUBSCRIPTION INFO Natioml 0pptession in the Eric Odell iohn A. -
The Profound, Progressive, and Occasionally Pointless History of Bay Area Punk from Dead Kennedys to Green Day
GIMME SOMETHING BETTER : THE PROFOUND, PROGRESSIVE, AND OCCASIONALLY POINTLESS HISTORY OF BAY AREA PUNK FROM DEAD KENNEDYS TO GREEN DAY Author: Jack Boulware Number of Pages: 512 pages Published Date: 04 Feb 2010 Publisher: Penguin Books Ltd Publication Country: London, United Kingdom Language: English ISBN: 9780143113805 DOWNLOAD: GIMME SOMETHING BETTER : THE PROFOUND, PROGRESSIVE, AND OCCASIONALLY POINTLESS HISTORY OF BAY AREA PUNK FROM DEAD KENNEDYS TO GREEN DAY Gimme Something Better : The Profound, Progressive, and Occasionally Pointless History of Bay Area Punk from Dead Kennedys to Green Day PDF Book " The Good Life in the Scientific Revolution: Descartes, Pascal, Leibniz and the Cultivation of VirtueThis book provides an up-to-date account of blind children's developing communicative abilities with particular emphasis on social cognition and language acquisition from infancy to early school age. With a tiny house you will learn how to live large and truly appreciate the things you have and not allow the things you dont need to control you. Beyond Freedom - Talks with Sri Nisargadatta MaharajAn irresistible look within the mind and behind the hit TV drama, HouseWhile House is a smart medical drama and Gregory House faces countless ethical quandaries as a doctor, what makes the show unique is that it's much more deeply rooted in psychology than in medicine. The collection is in the familiar AC Black songbook format with sturdy wire-o binding to keep the book open at the song you're singing. Readers of this book - be they arts managers, politicians, board members, city planners, foundation executives, or philanthropists - will find that book provides valuable perspective and insight about building cultural facilities, and that reading it will serve to make building projects go more smoothly in the future. -
Punk Preludes
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Summer 8-1996 Punk Preludes Travis Gerarde Buck University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Buck, Travis Gerarde, "Punk Preludes" (1996). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/160 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Punk Preludes Travis Buck Senior Honors Project University of Tennessee, Knoxville Abstract This paper is an analysis of some of the lyrics of two early punk rock bands, The Sex Pistols and The Dead Kennedys. Focus is made on the background of the lyrics and the sub-text as well as text of the lyrics. There is also some analysis of punk's impact on mondern music During the mid to late 1970's a new genre of music crept into the popular culture on both sides of the Atlantic; this genre became known as punk rock. Divorcing themselves from the mainstream of music and estranging nlany on their way, punk musicians challenged both nlusical and cultural conventions. The music, for the most part, was written by the performers and performed without worrying about what other people thought of it. -
10. a Crass Course in Education
ROBERT HAWORTH 10. A CRASS COURSE IN EDUCATION Punk Art, Music and Informal Learning Feeding of the 5000 J. Austin (Ed.), Spinning Popular Culture as Public Pedagogy, 107–115. © 2017 Sense Publishers. All rights reserved. R. Haworth As I sift through punk albums from the 1980s, the artwork on the sleeves (not to mention the etched out grooves of analog music within these cardboard gems) brings back memories of resistance, anger, joy, and frustration. The emotional impact is overwhelming. In many instances, the significance of one cover has connections to another. Moreover, these images are embedded in my own complex experiences during my youth. A larger question comes to mind, “Is it possible to choose an album cover that represents how I, or better stated, ‘we,’ experienced punk?” Part of the complicated process of choosing a cover coincides with how I have internalized my experiences, and how my own knowledge and understanding has emerged from these influential bands, artists, and local “scenes”- especially during tremulous times- both externally and internally. Additionally, my confusion in choosing a specific cover stems from the complex nature of punk’s political and cultural spaces or “counter-publics”. In many cases, the “counter-publics” we (participants in the “scene”) constructed were situated and somewhat temporary; however, these spaces were interwoven with and connected to larger movements that contested the oppressive political and economic institutions of the time. Consider the Dead Kennedys’ song “California Über Alles” (1980) where Jello Biafra lyrically paints the political landscape of California as fascists, and the U.K. band, Crass, who characterized and mocked Margaret Thatcher and Ronald Reagan’s attacks on the poor and working class. -
American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world. -
Leila El Bashir Serious Listeners of Music Often Talk About Their Favorite Songs and Bands in Terms of Their Favorite Genres, Ho
THE DEATH OF PUNK: REINCARNATION OF A DEAD GENRE Leila El Bashir Serious listeners of music often talk about their favorite songs and bands in terms of their favorite genres, however, most listeners do not have a clear conception of what it means for a piece of music to be categorized in a specific genre. Genre is a form of classification that most people correlate strictly with musical style, that is, the way a song sounds. People do not realize that genres today are becoming more like artificial categories defined by the music industry and popular culture to commodify and commercialize music. This popular culture can be summed up to what Theodor Adorno and Max Horkheimer, in The Culture Industry: Enlightenment as Mass Deception, terms the culture industry. They suggest that culture and its products, such as music, are being commodified and that culture as a common denominator already contains in its embryo that schematisation and process of cataloguing and classification which bring culture within the sphere of administration (7). In this way, genres can be viewed as a branch of the culture industry, being a form of classification that can be managed by culture administration. Therefore, one can see how culture and genre interact. Furthermore, David Brackett in his article, Musical meaning: genres, categories, and crossover, suggests how genres are more than musical style: Genres bring with them connotations about music and identity which may encode specific affective qualities such as conformity, rebelliousness, commercialism, selling out, art for arts sake; and may encode a whole variety of social characteristics (66). -
Dead Kennedys and the Yippie-Punk Continuum I Michael Stewart Foley
Political Pie-Throwing: Dead Kennedys and the Yippie-Punk Continuum i Michael Stewart Foley To cite this version: Michael Stewart Foley. Political Pie-Throwing: Dead Kennedys and the Yippie-Punk Continuum i. Sonic Politics: Music and Social Movements in the Americas, 2019, 1138389390. hal-01999010 HAL Id: hal-01999010 https://hal.univ-grenoble-alpes.fr/hal-01999010 Submitted on 30 Jan 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Political Pie-Throwing: Dead Kennedys and the Yippie-Punk Continuumi MICHAEL STEWART FOLEY By the time Dead Kennedys released their first LP, Fresh Fruit for Rotting Vegetables, in 1980, the band had established itself as the leading American political punk band, hailing from a city that seemed to specialize in political art. In many ways, the band and its music represented the culmination of nearly three years of subcultural political struggle on a host of issues facing not only young people in San Francisco but American youth everywhere – enough that, to this day, many of the city’s punk veterans refer to their experience in the “movement.” Political historians of the United States in the 1970s and 1980s have mostly ignored punk, but this essay examines Dead Kennedys’ early career as a way to illuminate the political experience of one segment of American youth in the late 1970s. -
Universitas Indonesia Perkembangan Musik Punk Di Amerika Serikat Tahun
UNIVERSITAS INDONESIA PERKEMBANGAN MUSIK PUNK DI AMERIKA SERIKAT TAHUN 1974-1980 SKRIPSI Diajukan sebagai salah satu syarat untuk memperoleh gelar Sarjana Humaniora AHMAD FIKRI HADI NPM 0704040017 FAKULTAS ILMU PENGETAHUAN BUDAYA PROGRAM STUDI SEJARAH DEPOK DESEMBER 2008 Perkembangan musik..., Ahmad Fikri Hadi, FIB UI, 2008 Universitas Indonesia HALAMAN ORISINALITAS Skripsi ini adalah hasil kerja saya sendiri, dan semua sumber baik yang dikutip maupun dirujuk telah saya nyatakan dengan benar. Nama : Ahmad Fikri Hadi NPM : 0704040017 Tanda Tangan : Tanggal : 31 Desember 2008 Perkembangan musik..., Ahmad Fikri Hadi, FIB UI, 2008 Universitas Indonesia HALAMAN PENGESAHAN Skripsi yang diajukan oleh Nama : Ahmad Fikri Hadi NPM : 0704040017 Program Studi : Sejarah Judul : Perkembangan Musik Punk Di Amerika Serikat Tahun 1974- 1980 Ini telah berhasil dipertahankan di hadapan Dewan Penguji dan diterima sebagai bagian persyaratan yang diperlukan untuk memperoleh gelar Sarjana Humaniora pada Program Studi Sejarah, Fakultas Ilmu Pengetahuan Budaya, Universitas Indonesia. DEWAN PENGUJI Pembimbing : Dr. Magdalia Alfian ( ) Pembimbing : Sudarini Suhartono, M.A. ( ) Penguji : Linda Sunarti, M.Hum. ( ) Penguji : Kasijanto Sastrodinomo, M.Hum. ( ) Ditetapkan di : Universitas Indonesia, Depok Tanggal : 31 Desember 2008 Oleh Dekan Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia Perkembangan musik..., Ahmad Fikri Hadi, FIB UI, 2008 Universitas Indonesia KATA PENGANTAR Segala puji dan syukur yang tidak terhingga penulis ucapkan kepada Allah SWT, Tuhan semesta alam, yang telah memberikan kasih sayang, anugrah, cobaan dan bantuan- Nya sehingga skripsi ini berhasil diselesaikan tepat waktu. Skripsi ini disusun sebagai syarat kelulusan untuk mendapatkan gelar sarjana dari Program Studi Sejarah, Fakultas Ilmu dan Pengetahuan Budaya, Universitas Indonesia. Dalam skripsi ini penulis berusaha untuk meneliti perkembangan musik punk di Amerika Serikat. -
Volume 25, Number 04, September 2003
ENTERTAINMENT LAW REPORTER COMMENTARY What Everyone Should Know About Piracy By Ann Chaitovitz Piracy has devastated the music industry and now threatens other entertainment industries and all performers’ livelihoods. For example, a pre-final cut of the movie “The Hulk” was on the Internet pre- release, and the “Harry Potter” movie landed on the Internet pre-US release (due to a screening in London). The problems of piracy are not new. For example, manyost of us made cassettes of our dorm- mates’ albums in college. But with taping, the album was only available to a limited number of people and there was degradation in quality from the vinyl record to the cassette. While digital technology has created many VOLUME 25, NUMBER 4, SEPTEMBER 2003 ENTERTAINMENT LAW REPORTER opportunities for the industry and for performers, when a recording is posted on-line, it is: * available to millions of people, * who are able to copy it quickly, * without any degradation of quality. We must remember that tTechnology is not bad or the enemy. It has not caused these problems but merely created these new opportunities. We must harness the opportunities of technology and minimize the threats - something the music industry has been unable to do thus far. Just as radio was the canary in the coal mine for media consolidation, music is the cautionary tale for Internet piracy. Because of limitations on bandwidth and compression technologies, music was one of first types of works to be vulnerable to Internet piracy, but as those limitations are disappearing, other types of works are now becoming vulnerable. -
Punk Record Labels and the Struggle for Autonomy 08 047 (01) FM.Qxd 2/4/08 3:31 PM Page Ii
08_047 (01) FM.qxd 2/4/08 3:31 PM Page i Punk Record Labels and the Struggle for Autonomy 08_047 (01) FM.qxd 2/4/08 3:31 PM Page ii Critical Media Studies Series Editor Andrew Calabrese, University of Colorado This series covers a broad range of critical research and theory about media in the modern world. It includes work about the changing structures of the media, focusing particularly on work about the political and economic forces and social relations which shape and are shaped by media institutions, struc- tural changes in policy formation and enforcement, technological transfor- mations in the means of communication, and the relationships of all these to public and private cultures worldwide. Historical research about the media and intellectual histories pertaining to media research and theory are partic- ularly welcome. Emphasizing the role of social and political theory for in- forming and shaping research about communications media, Critical Media Studies addresses the politics of media institutions at national, subnational, and transnational levels. The series is also interested in short, synthetic texts on key thinkers and concepts in critical media studies. Titles in the series Governing European Communications: From Unification to Coordination by Maria Michalis Knowledge Workers in the Information Society edited by Catherine McKercher and Vincent Mosco Punk Record Labels and the Struggle for Autonomy: The Emergence of DIY by Alan O’Connor 08_047 (01) FM.qxd 2/4/08 3:31 PM Page iii Punk Record Labels and the Struggle for Autonomy The Emergence of DIY Alan O’Connor LEXINGTON BOOKS A division of ROWMAN & LITTLEFIELD PUBLISHERS, INC.