{TEXTBOOK} Nirvana: the True Story
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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. -
Charles Peterson …And Everett True Is 481
Dwarves Photos: Charles Peterson …and Everett True is 481. 19 years on from his first Seattle jolly on the Sub Pop account, Plan B’s publisher-at-large jets back to the Pacific Northwest to meet some old friends, exorcise some ghosts and find out what happened after grunge left town. How did we get here? Where are we going? And did the Postal Service really sell that many records? Words: Everett True Transcripts: Natalie Walker “Heavy metal is objectionable. I don’t even know comedy genius, the funniest man I’ve encountered like, ‘I have no idea what you’re doing’. But he where that [comparison] comes from. People will in the Puget Sound8. He cracks me up. No one found trusted the four of us enough to let us go into the say that Motörhead is a metal band and I totally me attractive until I changed my name. The name studio for a weekend and record with Jack. It was disagree, and I disagree that AC/DC is a metal band. slides into meaninglessness. What is the Everett True essentially a demo that became our first single.” To me, those are rock bands. There’s a lot of Chuck brand in 2008? What does Sub Pop stand for, more Berry in Motörhead. It’s really loud and distorted and than 20 years after its inception? Could Sub Pop It’s in the focus. The first time I encountered Sub amplified but it’s there – especially in the earlier have existed without Everett True? Could Everett Pop, I had 24 hours to write up my first cover feature stuff. -
Krist Novoselic, Dave Grohl, and Kurt Cobain
f Krist Novoselic, Dave Grohl, and Kurt Cobain (from top) N irvana By David Fricke The Seattle band led and defined the early-nineties alternative-rock uprising, unleashing a generation s pent-up energy and changing the sound and future of rock. THIS IS WHAT NIRVANA SINGER-GUITARIST KURT Cobain thought of institutional honors in rock & roll: When his band was photographed for the cover of Rolling Stone for the first time, in early 1992, he arrived wearing a white T-shirt on which he’d written, c o r p o r a t e m a g a z i n e s s t i l l s u c k in black marker. The slogan was his twist on one coined by the punk-rock label SST: “Corporate Rock Still Sucks.” The hastily arranged photo session, held by the side of a road during a manic tour of Australia, was later recalled by photogra pher Mark Seliger: “I said to Kurt, T think that’s a great shirt... but let’s shoot a couple with and without it.’ Kurt said, ‘No, I’m not going to take my shirt off.’” Rolling Stone ran his Fuck You un-retouched. ^ Cobain was also mocking his own success. At that moment, Nirvana - Cobain, bassist Krist Novoselic, and drummer Dave Grohl - was rock’s biggest new rock band, propelled out of a long-simmering postpunk scene in Seattle by its incendiary second album, N everm ind, and an improbable Top Ten single, “Smells Like Teen Spirit.” Right after New Year’s Day 1992, Nevermind - Nirvana’s first major-label release and a perfect monster of feral-punk challenge and classic-rock magne tism, issued to underground ecstacy just months before - had shoved Michael Jackson’s D angerous out of the Number One spot in B illboard. -
Docility, Resistance and the Indie Guitarist: a Foucaultian Interpretation of the Guitar- Hero Joshua Hochman
Docility, Resistance and the Indie Guitarist: A Foucaultian Interpretation of the Guitar- Hero by Joshua Hochman A thesis submitted to the Faculty o f Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree o f Masters in Music and Culture Carleton University Ottawa, Ontario ©2013 Josh Hochman Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1 Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94602-2 Our file Notre reference ISBN: 978-0-494-94602-2 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 I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute 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 substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
In Search of Nirvana: Why Nirvana: the True Story Could Never Be'true'
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Thackray, Jerry (2015) In search of Nirvana: Why Nirvana: The true story could never be ’true’. Popular Music and Society, 38(2), pp. 194-207. This file was downloaded from: https://eprints.qut.edu.au/81973/ c Consult author(s) regarding copyright matters This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https://doi.org/10.1080/03007766.2014.994326 In Search of Nirvana: Why Nirvana: The True Story Could Never Be ‘True’ Jeremy Thackray In my book Nirvana: The True Story (2006), I undertake an autoethnographical approach to biography, attempting to impart an understanding of my chosen subject—the rock band Nirvana—via discussion of my own experiences. -
The Slow Death of Everett True: a Metacriticism
The slow death of Everett True: A metacriticism Jeremy Thackray A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Creative Industries Faculty Queensland University of Technology 2016 1 Abstract This thesis problematises and investigates the role of the popular music critic in Web 2.0 environments. It does so through an act of metacriticism grounded in my experience as an internationally successful popular music critic for major print publications including NME, Rolling Stone, and Melody Maker. The reflective aspect of the metacriticism is triangulated through interviews with other notable music critics, through a dialectical approach to role definition grounded in the literature, and through the ongoing experiment of Collapse Board, a music blogging site I set up to experience the new environment from the “inside”. Popular music critics have customarily been seen as gatekeepers of ‘cool’ and arbiters of taste. The industrial structure of print allowed critics to earn a living from their craft. The print environment was defined by limited outlets and large readerships with limited access to information. In that environment popular music criticism helped mould the ways popular music was received, consumed, and contextualised. This project asks whether the same holds true in Web 2.0 environments in which audiences have access to the same sources of information through which critics formerly derived their knowledge, authority, and influence. The thesis concludes that there are four major roles of relevance to the critic in the new media environments: bespoke criticism, music critic as fan, music criticism as entertainment, and the music critic as ‘firestarter’. -
Plan B Be Your Guide… Words: Everett True Illustration: Thom Dowse Photography: Kat Green, Toby Amies Polaroid Photography: Everett True, Cat Stevens, Mertle
There’s a new movement in town, antifolk (UK). It’s drunken, belligerent, raucous, sensitive and spontaneous. It eschews folk and anti-folk (US) orthodoxy to strike out into uncharted territory. Confused? Let Plan B be your guide… Words: Everett True Illustration: Thom Dowse Photography: Kat Green, Toby Amies Polaroid photography: Everett True, Cat Stevens, mertle There’s a new movement in town. up elongated talent shows where the ability to bully underground level doing their thing – contemporary It’s British, predominately. Wouldn’t translate someone in a less fortunate situation than yourself storytelling. Not with acoustic guitars. I’ve been to the States or Europe, let alone any of those is seen as a plus. an independent artist back as far as I can go, and countries where they object to the cultural Antifolk (UK) should not be confused with its there’s no restriction on what I can do. In Ireland, hegemony of a bunch of rich white corpulent far more refined, stylised and effete American and where I grew up, I was surrounded by all this fucking complacent war-mongering tastemakers. It’s too Continental counterpart, anti-folk, which is basically fiddle-dee-dee when I was a kid, and all the songs rooted in the humour of British culture: the ways people who are folk singers by any other name (with I sang were either football songs, or ’kill Catholics’ it is and isn’t acceptable to express (male, mostly) a smidgeon of punk attitude thrown in, whatever songs, sectarian songs with a good fucking beat. -
'Romanticism in Two Musical Repertories: a Comparison of The
1 ‘Romanticism in Two Musical Repertories: A Comparison of the Music of Frédéric Chopin and the Rock Group Nirvana’ Marco Lombardi, Master of Music - Research School of Music, University of Western Australia 2015 This thesis is presented in fulfilment of the requirements for the Master of Music - Research 2 Abstract This study examines the concept of romanticism within two widely different musical genres and repertories – that is, the music of Frédéric Chopin (1810-1849) and Kurt Cobain (1967-1994) of the rock group Nirvana. The introductory chapter discusses the place of this study amongst other research, especially pertaining to romanticism in rock music. Drawing on a variety of sources, this chapter also explores aspects of the intensely debated concepts of romanticism (and beyond) that are relevant to the two case studies. Chapter 2 examines Chopin and his music through the lens of romanticism. A similar investigation into Kurt Cobain and Nirvana’s music is given in Chapter 3 showing what sort of conclusions can be drawn using categories that are atypical for contemporary rock music, and to what extent they are comparable to those drawn from the studies of Chopin. From such comparative analysis, this study provides some convincing evidence that a variety of musical and non-musical similarities can be discerned between these two artists and their respective musical outputs. The similarities that are revealed come under the broad label of romanticism; and more specifically they further encompass parallels between the two artists in the areas of gender, sickness and death. 3 Table of Contents Chapter One – Introduction 5 Chapter Two – Chopin 11 Chapter Three – Nirvana 29 Chapter Four – Conclusion 44 Bibliography 46 4 Acknowledgments Thanks to Professor David Symons for his guidance and wonderful insight. -
Place and Punk: the Heritage Significance of Grunge in the Pacific North West
Place and Punk: The heritage significance of Grunge in the Pacific North West William Kenneth Smith MA By Research University of York Archaeology May 2017 Abstract Academic institutions and the heritage industry are now actively seeking to understand the wider social, cultural and economic processes which surround the production and consumption of popular music histories. Music is a local creation; it is created through a flux of internal and external influences, and is bound up in questions of economy, networks, art, identity and technology. In the early 1990s the Pacific North West of the United States of America gave birth to what became known as the musical genre of ‘grunge’. It developed into a distinctive genre, presenting a style and sound which propagated within the confines of a specific time and place. As construction sites continue to emerge throughout the Pacific North West, the impact of music still provides an essential contribution to the regions character and culture. Despite this, countercultural pasts are vulnerable; not only to the passage of time but also the processes of development, gentrification and marginalization. This research explores the heritage significance of the Pacific North West punk scene. It presents a historiography of punk and an appraisal of the scholarly discourse surrounding place. This study utilizes artifacts, sites and oral histories to explore countercultural material and memories as well as the form and function of punk. Themes such as geography and environment are enfranchised into the discussion as ethnography and multidisciplinary approaches are applied to make a unique contribution to what is an essential and timely discussion regarding people, culture, heritage and place. -
Crossroads Magazine EDITORS-IN-CHIEF Noam Radcliffe & Sariel Friedman
crossroads magazine EDITORS-IN-CHIEF Noam Radcliffe & Sariel Friedman CREATIVE DIRECTOR Sariel Friedman Copy Editors Noam Radcliffe & Annie Ferreira PHOTO EDITOR Viveka Cousins Art by: Viveka Cousins in this issue: Ska: The Sounds of the Working Class “She Was a Young American” Andrew Olivieri Viveka Cousins Insane in the Membrane: Where Science and Music Collide Redefining the Charts in the Age of Streaming Sophie Breitbart Nicole Ruiz Disc Jockeys Changing the Course of Music More Than Video Vixens: The Women of Hip Hop Amber Dimitroff Camilla Lopez A True King Becoming Cultural Icons in One Hard Day’s Night Zander Kotsen Sam Green Eric Prydz: Conquering the Middle Ground The Political Implications of Beyoncé’s ‘Formation’ Arjun Malhotra Sadie Sprague-Lott Little Richard’s Childhood From War to Woodstock: A History of Drum Set in the U.S. Narin Luangrath Noam Radcliffe The Personalities of Eminem (1999-2002) Hail! Hail! Chuck Berry! —A Movie Review Dante DeSario Isaiah Bellamy Dave Grohl and the Foo Fighters: Escaping the Shadow of Nirvana Little Richard: Tutti-Frutti, Good Booty Ethan Rode Frankie Brown “These Bitches Suck”: A Look at the Girls Who Just Don’t Give a F*ck What You Think Self-Made Legend: The Bo Diddley Story Mae Moskin Chad Elliott Mass Appeal: A Look Behind Gang Starr’s Widespread Success N.W.A.: The Legacy Continues Matt Hecker Terence Norton The Evolution of Electronic Dance Music A Life of Adversity Overshadowed by a Life of Success Corey Aviles Ben Shively Red Rocks Rocks Building a Legacy: The Rise and Fall of Death Row Records Christian Barker John Fought Bounce Music: Present but Often Unseen Music and Black Lives Matter Aili Francis Angel Riddle Musical Healing Stage Presence: Bringing the Private Self into the Public Eye Bryan Irwin Peter Fortunoff How Does it Go? Sex and Drugs and … Max Martin and Modern Music Moniroth Chhean Annie Ferreira The Beatles’ Last Gift The Sound of Music: Hip-Hop Kelvin Cuesta Shayna Beaumont trial town of Coventry, England. -
Nirvana: the True Story Free
FREE NIRVANA: THE TRUE STORY PDF Everett True | 500 pages | 01 Oct 2006 | OMNIBUS PRESS | 9781844496402 | English | London, United Kingdom Ex-Nirvana art director claims he created smiley-face logo - Los Angeles Times Cobain, the singer and founder of Seattle grunge band Nirvana, was found dead in his Washington state home after taking his Nirvana: The True Story life 25 years ago. Born in February in Aberdeen, Washington, to Wendy and Donald Cobain, his parents divorced when he was 9 years old. Cobain would later say that his parents' divorce had had a profound impact on his life. He also learned how to play guitar and drums. Just two weeks before graduating, Cobain dropped out of high school. During his free time, Cobain attended concerts in Seattle, where he met fellow punk rock fan Krist Novoselic. Cobain and Novoselic became close friends, and Nirvana: The True Story singer asked the bassist to form a band with him. Years after its release, though, it would go platinum. The record would go on to be hailed by Rolling Stone as Nirvana: The True Story of the greatest albums of all time. It would go diamond in album sales, an unprecedented feat for rock artists, meaning over 2 million copies were sold. The spotlight was largely on Cobain thanks to his soft but outspoken demeanor. Cobain would also gain attention from critics and admiration from fans for his candid lyrics and songs. They had one daughter together, Francis Bean. The couple became the talk of the tabloids due to their drug use and behavior. -
Traditions of Punk and the Politics of Empowerment
Anyone Can Do It: Traditions of Punk and the Politics of Empowerment By Pete R.W. Dale Re-submission for PhD ICMuS Newcastle University 2010 Blank page ii Anyone Can Do It: Punk, Folk and the Politics of Empowerment Contents Title Page Page i Contents Page Page iii Introduction page vi Chapter One page 1 i. What Is Punk? Style vs. Substance page 2 ii. What Is Folk? Getting the Folk ‘Us’ in Focus page 27 iii. Punk as Folk: Two Sides of the Same Coin? page 57 iv. Chapter Conclusion page 84 Chapter Two page 88 i. Punk, Avant-gardism and Novelty page 90 ii. Marxism, Anarchism and the Issue of Universality page 119 iii. Justice to Come and the Micromatic Recoil page144 iv. Chapter Conclusion page 183 Chapter Three page 189 i. An Original Re-Birth? page 191 ii. There Is No Authority, But… : Anarcho-punk page 195 iii. Indie-Pop Ain’t Noise Pollution: The Cutie Movement page 231 iv. Chapter Conclusion page 269 iii Chapter Four page 275 i. Still Birth? page 277 ii. The Arrival of a New, Renegade, Girl-Boy Hyper-Nation: Riot Grrrl page 284 iii. Delivering the Groceries at 128 Beats per Minute: Math Rock page 326 iv. Chapter Conclusion page 366 Conclusion page 369 Bibliography page 389 iv Blank page v Introduction When the word punk is invoked, a majority of people – in the UK, at least – will think of the Sex Pistols, safety pins through the nose and other such bands and signifiers from the late 1970s. The purpose of this research, in large part, is to show that punk has in fact been a persistent and consistent tradition in the decades since.