DOCSLIB.ORG

1 American Youth Rebellion in 1980S As Presented

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 American Youth Rebellion in 1980S As Presented AMERICAN YOUTH REBELLION IN 1980S AS PRESENTED THROUGH MINOR THREAT’S SONGS THESIS Submitted as a Partial Fulfillment of Requirements for the Sarjana Degree in English Department Faculty of Letters and Fine Arts Sebelas Maret University By: LUCAS CHRISTIANTA UMAR SURYA PUTRA C1305522 ENGLISH DEPARTMENT FACULTY OF LETTERS AND FINE ARTS SEBELAS MARET UNIVERSITY SURAKARTA 2010 1 2 AMERICAN YOUTH REBELLION IN 1980S AS PRESENTED THROUGH MINOR THREAT’S SONGS By: LUCAS CHRISTIANTA UMAR SURYA PUTRA C1305522 Approved to be examined by The Consultants Thesis Consultant: Dra. Susilorini, M.A NIP. 196506011992032002 Head of English Non Regular Program Drs. Sugiyarto Budi Waskito, M.Pd NIP. 195211081983031001 3 AMERICAN YOUTH REBELLION IN 1980S AS PRESENTED THROUGH MINOR THREAT’S SONGS By: LUCAS CHRISTIANTA UMAR SURYA PUTRA C1305522 Accepted and Approved by The Board of Examiners Faculty of Letters and Fine Arts Sebelas Maret University On February 11, 2010 The Board of Examiners Position Name Signature Chairperson Dra. Nani Sukarni, M.S ( __________ ) NIP. 195103211981032002 Secretary Dra. Endang Sri Astuti, M.S ( __________ ) NIP. 195208141981032001 First Examiner Dra. Susilorini, M.A ( __________ ) NIP. 196506011992032002 Second Examiner Dra. S.K Habsari, M.Hum, Ph.D ( __________ ) NIP. 196703231995122001 Dean of Faculty of Letters and Fine Arts 4 Sebelas Maret University Drs. Sudarno, M.A NIP. 195303141985061001 PRONOUNCEMENT Name : Lucas Christianta Umar Surya Putra NIM : C130552 Stated wholeheartedly that the thesis entitled American Youth Rebellion in 1980s as presented through Minor Threat’s songs is originally made by the researcher. It is not a plagiarism nor made by others. The things related to other people’s works are written in quotation and included in bibliography. If it is later discovered and proven that this pronouncement is prevaricating, the researcher is ready to take on any consequences from English Department of Sebelas Maret University, including the withdrawal of the Degree. Surakarta, February 11, 2010 Lucas Christianta Umar Surya Putra 5 MOTTO “WHEN THE ROOT IS STRONG, THE FRUIT IS SWEET” “IF YOU ARE A BIG TREE, WE ARE THE SMALL AXES THAT READY TO CUT YOU DOWN” (ROBERT NESTA MARLEY) 6 DEDICATION THIS THESIS IS DEDICATED TO: MY FAMILY & ALL FRIENDS 7 ACKNOWLEDGEMENT Thank you very much for the Almighty Alien for the entire guidance through the nature and world surround me. This thesis will not run well without helps, support and encouragement from many persons. Special thanks are for: 1. Drs. Sudarno, M.A as the Dean of Faculty of Letters and Fine Arts 2. Drs. Sugiyarto Budi Waskito, M.Pd as the Head of the English Non Regular Program. 3. Dra. Susilorini, M.A, as the Academic Advisor and also as my thesis supervisor for the guidance and moral support during the academic period. At last I can finish this thesis by your support, patience and attention. 4. The thesis examiners team; Chairperson: Dra. Nani Sukarni, M.S; Secretary: Dra. Endang Sri Astuti, M.S; First Examiner: Dra. Susilorini, M.A; Second Examiner: Dra. Sri Kusumo Habsari, M.Hum, Ph.D, for the time and the excellent questions. 5. All lecturers in the English Department for the lessons, experiences and “sophisticated” thought. 8 6. My big family for the support; my grandma (you are truly ROCK N ROLL MAFIA!!!), my parents (the monetary fund of my life), all of my brothers and sisters including my nephews and cousins. 7. Brian “Eno” and Feedbac Speakrs for everything (I can’t mention it one by one, you know it all!!!). 8. Yudi Maryadi and Andreas Eleandra (Be Tough, Be Proud, Be Loud … Skinhead for life…!!! ); Ari Prabawa (Let’s skanking!!!); Joseph a.k.a Ceko Taste; Agni Srenggono. 9. CAUSE OF DAMAGE (Endz, Kotor, Fanny and Andreas Novic) for the great time (You rock, guys!). 10. Imam “Crazy Hyena” Senoaji, Adnan D Kusuma, Hermono for the great discussion, music and video collections, books and a*****l d*****s. 11. All of my friends in English Non Regular Program, Sebelas Maret University: Mas Bendot, Danny Tile, Sapto Kuncung, Muklis, Wachid Grunge, Priawan, Emon, Renato, Harris, Andes, Silvy, Lesti, Natalia, Eko Meko, Eko S, Andriani, Ruth, Agus Dim and all friends ( although your name are not mentioned here ) for the support and everything. I really appreciate it !!! Great respect !!! 12. Cheers to the crews: East River Crew and Suburban Soundsystem Crew; West Mandala and “Where the hell is Babylon???” Crew; Ruckson Music Records, Realino Bootbois, Badran Crew, Solo City Hardcore (R.I.P???). 13. All the Faculty staff: Administration: Mbak Nur, Mbak Kris, Mas Agung; ILC: Pak Ju, Lesti; VEC: Febriana; Parking Crew: Pak Dar, Mas Budi, Mas 9 Sigit, Mas Saryono; Security: Mas Dodo. We’ve through the years. Thanks a lot for all. 14. The Greatest and the Toughest Bio Hazard ’89, the Great Axioo Hardware, Winamp Soundsystem and the playlist (play it loud and louder !!!) 15. Ian McKaye, Minor Threat and AMERICAN HARDCORE. The researcher realizes that this thesis is far from being perfect. Supportive criticism and suggestion will be kindly accepted. The researcher hopes that this thesis will be beneficial for those who are interested in American Studies. Surakarta, February 11, 2010 Lucas Christianta Umar Surya Putra 10 TABLE OF CONTENTS TITLE ……………………………………………………………………………………..i THE APPROVAL OF CONSULTANT ………………………………………………….ii THE APPROVAL OF THE BOARD EXAMINERS …………………………………iii PRONOUNCEMENT ……………………………………………………………………iv MOTTO …………………………………………………………………………………..v DEDICATION …………………………………………………………………………vi 11 ACKNOWLEDGEMENT ………………………………………………………………vii TABLE OF CONTENTS …………………………………………………………………x ABSTRACT ……………………………………………………………………………xiii CHAPTER I: INTRODUCTION A. Background ……………………………………………………………………….1 B. Research Question ………………………………………………………………..5 C. Scope of Study ……………………………………………………………………5 D. Objective of the Study ……………………………………………………………6 E. Benefit of the Study ………………………………………………………………6 F. Method of Research ………………………………………………………………7 G. Theoretical Approaches …………………………………………………………..8 H. Thesis Organization ……………………………………………………………10 12 CHAPTER II: LITERATURE REVIEW A. Sociology of Youth ……………………………………………………………11 B. Semiotics Theory ………………………………………………………………13 C. Rock Music Theory ……………………………………………………………15 D. American Hardcore Music ………………………………………………………18 E. Historical Background of the United States of America in 1980s ………………23 F. Biography of Ian McKaye and Minor Threat ..………………………………….26 CHAPTER III: ANALYSIS A. Minor Threat’s Rebellion towards 1980s American Negative youth lifestyle......32 1. “Straight Edge” ………………………………………………………………….33 2. “Bottled Violence” ………………………………………………………………39 3. “In My Eyes” ………………………………………………………………….44 13 4. “Out of Step (with the world)” …………………………………………………49 B. Minor Threat’s Rebellion towards 1980s American social values ……………54 1. “Seeing Red” …………………………………………………………………….55 2. “Screaming at the wall” …………………………………………………………59 3. “Minor Threat” …………………………………………………………………64 4. “Think Again” ………………………………………………………………….69 CHAPTER IV: CONCLUSION AND RECOMMENDATION A. Conclusion …………………………………………………………………….74 B. Recommendation ………………………………………………………………78 BIBLIOGRAPHY APPENDIX 14 ABSTRACT Lucas Christianta Umar Surya Putra. C1305522. 2010. American Youth Rebellion in 1980s as presented through Minor Threat’s songs. Thesis: English Department of Faculty of Letters and Fine Arts Sebelas Maret University. This research is conducted to find out the presentation of the American Youth Rebellion in the 1980s by analyzing some songs written and performed by one of 1980s American hardcore bands called Minor Threat. As a 1980s American youth band, Minor Threat’s song lyrics combined with hardcore music present 1980s American youth rebellion. Youth age as the transitional period between childhood and adulthood becomes a period where youth refuses to stay in childhood values but also refuses to enter adult world and its values. In this transition period, the youth rebellion emerges as the resistance of the social values. During Minor Threat’s existence in 1980s, the United States of America was in a great recession period when the country experienced transitions in many sectors. Some American youth speak up their disappointment toward the condition and express their rebellion through hardcore music. The objective of this research is to find out how American youth rebellion in 1980s is presented through Minor Threat’s songs. The source of data used in this research is Minor Threat’s songs in its EPs (Extended Play/Mini Album). The main data are eight Minor Threat’s songs which are taken from its EPs entitled Minor Threat (released in 1981 by Dischord Records) and In My Eyes (released in 1981 by Dischord Records). These songs are chosen as they are related to the topic of research. The supporting data are taken from books, articles, interviews and websites. This research applies library research in the form of analytic qualitative research. Since this research is carried out within American Studies discipline, it employs interdisciplinary approaches which bring the consequences of applying some theories and approaches. They are semiotic theory, music theory, sociological approach and biographical approach. These approaches and theories are related each other to get the meaning of Minor Threat’s songs as the presentation of American youth rebellion in 1980s. From the analysis, it can be concluded that Minor Threat’s songs present American youth rebellion in 1980s through their song lyrics and music. The subject matter of Minor Threat’s
Load more

Recommended publications
  • “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.
    [Show full text]
  • 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.
    [Show full text]
  • ALBUM? Peter Gabriel and St~Ng,These I Dudesdohaveasenseofhumor, ~IIIIIIIIIIIIIIIIIIII~ As the "If I Were A...I'dt' Series and "Nasty Man" Can Attest To
    . - .. - . -. ~. A ~ , - . , . , . , . , -. ::*--.i'_'.-. ~-----.~.7. '. .,.? 7 . ~ $ .. ,, t-c. * .A?. ' - a -. .-? ' '9' . " -, , -,, &., ,:.--: .: .. ., . , y , - . ,,;.? .. .- . .. -- 8 ' . ,"<, ' ~..D. ? PAGE 3 k SLUG To Mike Carlson, wereright, though.mestagewas me, industrial always was shit ENTEIWAINMENT Once again you have con- PM~..---. like ELP, Kraftwerk, Laibach, GUIIBE AN11 firmed the fact that you are a 4. Mary Annerules. She is the This guy 1tEVIEW complete geek Do you ever tire AlternativeCultural Icon for this what's of public humiliation? month. Next up, I submit Chris Youn in warm regards, -1 -1 T. Stinson Robin. Love and bullets, 5. Matt Taylor is right on the Charlee X Nine Editor /Publisher Dearest Dickheads, ball, friends and neighbors. To J.R. Ruppel Controversy, controvesy, controversy! After reading the Sales & Production SlugNo.30/June'91 issue,I must Natalie Kaminski respond to the following: 1. Mike Carlson, suck mine. Photographs Your.bullshit attitude is right Robert DeBerry from the pages of Maximum Special Thanx To: Rock And Roll. "Getting signed Lara Bringard to the maprs and being bled dry Matt Taylor for the bloodsucking consumer Scott Bringard machine?" That shit happens on quite a few indies, too, but why AND OUR TWANX TOOOOOO: 'even bother to record or tour JanBny, Jon Shum~,Brd OWu. Woody Gonulu, Bud Bmrkrq dthout somedegreeof success? Rlck Ruppl, Dan Kw. MuhMron, Sorry, babycake<but the money Xotl Bdngud, Kwh Uk,Charlea Johmn, BUI Ward, Hofflnc Rlnthg, goes along with this and it's not CopperfleldPublbhlng the cash that makes things bad, ?he opinions and views expressed but what you do with it. If this in this rag are those of the writem wasn't the case, records would and arc nM necessarily those of the be free of charge to make and people who pur this shit together.
    [Show full text]
  • Read Razorcake Issue #27 As A
    t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing.
    [Show full text]
  • 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.
    [Show full text]
  • The College News 1989-9-21 Vol.11 No. 2 (Bryn Mawr, PA: Bryn Mawr College, 1989)
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Publications, Special Bryn Mawr College News Collections, Digitized Books 1989 The olC lege News 1989-9-21 Vol.11 No. 2 Students of Bryn Mawr College Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/bmc_collegenews Custom Citation Students of Bryn Mawr College, The College News 1989-9-21 Vol.11 No. 2 (Bryn Mawr, PA: Bryn Mawr College, 1989). This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/bmc_collegenews/1417 For more information, please contact [email protected]. Choice Articles Want to write for us? Arts and Entertainent See centerspread - pages 6 and 7 Seepage 3 See pages 8 and 9 [ I ^ • ■ • THE COLLEGE NEWS VOLUMEHE XI Numbert- FOUNDEt) 1914 ~T^ BRYN MAWR COLLEGE SEPTEMBER 21,1989 How committed is BMC to campus accessibility? BY GRETCHEN JUDE towards the physical aspects of Bryn Mawr College, this reporter wondered Renovations and improvements of —"what about accessibility for the mobil- several campus buildings—most nota- ity impaired? Why weren't ramps or bly Pembroke East, Merion and Brecon— elevators included in the rather gener- cost the college nearly three million dol- ous construction budgets? Although, lars this summer. The most obvious according to Moshen Malek of physical construction, Pern East, was completed plant, the college is planning a complete . in thirteen weeks at a cost of $2 million; study of campus-wide accessibility Merion's staircases and fourth floor were "within the next couple months", the renovated atapproximatelv$180,(X)0,and college already "feels that there is ade- the first and fourth floor Brecon bath- quateaccess".
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Evolution of Emo and Its Theoretical Implications 175
    The Evolution of Emo and Its Theoretical Implications 175 Mirosław Aleksander Miernik The Evolution of Emo and Its Theoretical Implications The purpose of this article is to analyze how emo, a youth subculture, evolved in the United States during a period of approximately twenty five years, since the mid-1980s, particularly focusing on how it changed in regard to the zeitgeist of the time period, as well as how it appropriated various elements of past subcultures into itself in order to create its own subcultural identity. Special attention will be paid to the third incarnation, which emerged at the beginning of the twenty-first century and proved to be the most widespread variation of the subculture. It is also interesting how this incarnation was affected by historical events such as the Columbine High School Massacre and 9/11. The theoretical implications of emo are the second issue that this article at- tempts to tackle. In particular, when viewed from the perspective of post-subculture studies, it allows one to revisit certain theories of the Centre for Contemporary Cultural Studies at the University of Birmingham (CCCS), which pioneered sub- culture studies in the 1960s and 70s. The relationship between post-subculture studies and the CCCS’s approach has always been very complex. Even though many representatives of post-subculture studies criticized the CCCS for various shortcomings, most significantly for an a priori approach that ignores empirical evidence and limits the concept of authenticity within subcultures (Muggleton 19–30). At the same time, the work of the CCCS has been always treated with respect and considered a milestone.
    [Show full text]
  • Swissted 4/3/13 11:41 PM
    swissted 4/3/13 11:41 PM swissted swissted is an ongoing project by graphic designer mike joyce, owner of stereotype design in new york city. drawing from his love of punk rock and swiss modernism, two movements that have (almost) nothing to do with one another, mike has redesigned vintage punk, hardcore, new wave, and indie rock show flyers into international typographic style posters. each design is set in lowercase berthold akzidenz-grotesk medium (not helvetica). every single one of these shows actually happened.the swissted book is finally out from quirk books—get it here! http://www.swissted.com/ Page 1 of 135 swissted 4/3/13 11:41 PM http://www.swissted.com/ Page 2 of 135 swissted 4/3/13 11:41 PM ramones at the palladium, 1978 http://www.swissted.com/ Page 3 of 135 swissted 4/3/13 11:41 PM descendents at fender’s, 1987 agent orange at goodies, 1987 http://www.swissted.com/ Page 4 of 135 swissted 4/3/13 11:41 PM jawbreaker at irving plaza, 1995 patti smith at max’s kansas city, 1974 http://www.swissted.com/ Page 5 of 135 swissted 4/3/13 11:41 PM refused at the p.w.a.c., 1996 t.s.o.l. and others at fender’s, 1986 http://www.swissted.com/ Page 6 of 135 swissted 4/3/13 11:41 PM misfits at gildersleeves, 1983 lush at the fillmore, 1994 http://www.swissted.com/ Page 7 of 135 swissted 4/3/13 11:41 PM yo la tengo at cbgb, 1993 rollins band at the outhouse, 1990 http://www.swissted.com/ Page 8 of 135 swissted 4/3/13 11:41 PM david bowie at cleveland music hall, 1972 meat puppets at the roxy theatre, 1986 http://www.swissted.com/ Page 9 of 135 swissted 4/3/13 11:41 PM built to spill at fox theatre, 1997 modest mouse at speak in tongues, 1996 http://www.swissted.com/ Page 10 of 135 swissted 4/3/13 11:41 PM nick cave & the bad seeds at fillmore / 1989 the velvet underground at max’s k.c.
    [Show full text]
  • Punk Lyrics and Their Cultural and Ideological Background: a Literary Analysis
    Punk Lyrics and their Cultural and Ideological Background: A Literary Analysis Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl-Franzens Universität Graz vorgelegt von Gerfried AMBROSCH am Institut für Anglistik Begutachter: A.o. Univ.-Prof. Mag. Dr. Hugo Keiper Graz, 2010 TABLE OF CONTENTS PREFACE 3 INTRODUCTION – What Is Punk? 5 1. ANARCHY IN THE UK 14 2. AMERICAN HARDCORE 26 2.1. STRAIGHT EDGE 44 2.2. THE NINETEEN-NINETIES AND EARLY TWOTHOUSANDS 46 3. THE IDEOLOGY OF PUNK 52 3.1. ANARCHY 53 3.2. THE DIY ETHIC 56 3.3. ANIMAL RIGHTS AND ECOLOGICAL CONCERNS 59 3.4. GENDER AND SEXUALITY 62 3.5. PUNKS AND SKINHEADS 65 4. ANALYSIS OF LYRICS 68 4.1. “PUNK IS DEAD” 70 4.2. “NO GODS, NO MASTERS” 75 4.3. “ARE THESE OUR LIVES?” 77 4.4. “NAME AND ADDRESS WITHHELD”/“SUPERBOWL PATRIOT XXXVI (ENTER THE MENDICANT)” 82 EPILOGUE 89 APPENDIX – Alphabetical Collection of Song Lyrics Mentioned or Cited 90 BIBLIOGRAPHY 117 2 PREFACE Being a punk musician and lyricist myself, I have been following the development of punk rock for a good 15 years now. You might say that punk has played a pivotal role in my life. Needless to say, I have also seen a great deal of media misrepresentation over the years. I completely agree with Craig O’Hara’s perception when he states in his fine introduction to American punk rock, self-explanatorily entitled The Philosophy of Punk: More than Noise, that “Punk has been characterized as a self-destructive, violence oriented fad [...] which had no real significance.” (1999: 43.) He quotes Larry Zbach of Maximum RockNRoll, one of the better known international punk fanzines1, who speaks of “repeated media distortion” which has lead to a situation wherein “more and more people adopt the appearance of Punk [but] have less and less of an idea of its content.
    [Show full text]