1990S Grunge and Its Effect on Adolescents
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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. -
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. -
Retirement in the 21St Century
Retirement in the 21st Century IFS Report R98 Daniel Chandler Gemma Tetlow Retirement in the 21st Century Daniel Chandler Institute for Fiscal Studies Gemma Tetlow Institute for Fiscal Studies Copy-edited by Rachel Lumpkin Institute for Fiscal Studies 7 Ridgmount Street London WC1E 7AE Published by The Institute for Fiscal Studies 7 Ridgmount Street London WC1E 7AE Tel: +44 (0) 20-7291 4800 Fax: +44 (0) 20-7323 4780 Email: [email protected] Website: http://www.ifs.org.uk © The Institute for Fiscal Studies, October 2014 ISBN 978-1-909463-62-2 Preface The authors gratefully acknowledge funding from the Joseph Rowntree Foundation (project reference 1112004A) and co-funding from the ESRC-funded Centre for the Microeconomic Analysis of Public Policy at IFS (grant reference ES/H021221/1). We are also grateful to Rowena Crawford, Aleks Collingwood, Richard Disney and Paul Johnson for comments on an earlier draft of this report. Any errors are the authors’ alone. Data from the English Longitudinal Study of Ageing (ELSA) are made available through the UK Data Service. ELSA was developed by a team of researchers based at the National Centre for Social Research, University College London and the Institute for Fiscal Studies. The data were collected by the National Centre for Social Research. The funding is provided by the National Institute of Aging in the United States and a consortium of UK government departments co-ordinated by the Office for National Statistics. The Labour Force Survey is collected by the Office for National Statistics and was made available through the UK Data Service. -
Ireland in the 1990S
WHEN UNEMPLOYMENT DISAPPEARS: IRELAND IN THE 1990S BRENDAN WALSH CESIFO WORKING PAPER NO. 856 CATEGORY 4: LABOUR MARKETS FEBRUARY 2003 PRESENTED AT CESIFO CONFERENCE ON UNEMPLOYMENT IN EUROPE: REASONS AND REMEDIES, DECEMBER 2002 An electronic version of the paper may be downloaded • from the SSRN website: www.SSRN.com • from the CESifo website: www.CESifo.de CESifo Working Paper No. 856 WHEN UNEMPLOYMENT DISAPPEARS: IRELAND IN THE 1990S Abstract This paper examines the behaviour of the Irish labour market during the 1990s. Over the course of the decade the Irish unemployment rate fell from the highest to the lowest in the EU. Over the same period a record number of jobs was created and all the indicators suggest that full employment was achieved. The primary reason for this “employment miracle” was the output boom, which in turn may be attributed to Ireland’s “super competitiveness” in the late 1990s. Several factors contributed to this – a low exchange rate, the inflow of FDI to high productivity sectors, and wage moderation following the return to centralised wage agreements in 1987. Labour market reforms, including a tightening of the social welfare regime and a switch of spending from income support to active labour market policies, played a positive role. The fact that unemployment has risen only slowly during the current downturn points to the lasting effect of these changes. JEL Code: J4, J3, N3. Brendan M. Walsh Department of Economics University College Dublin Dublin 4 Ireland [email protected] I am grateful to Mark Berger, David Grubb, Cormac Ó Gráda, Philip O’Connell, and Frank Walsh for helpful comments. -
Emo Teens and the Rising Suicide Rate in SA
Emo teens and the rising suicide rate in SA An alarming number of South African teens not only harm themselves, they are actively contemplating suicide. One group that's especially at risk is the subgroup known as Emos. "I could have stopped it… she was my best friend. I never thought it was this bad. You know… we all have problems. I thought it was just another bad day." These are the words of a young grade-10 learner who recently lost her best friend due to suicide. Suicide is the cause for almost one in 10 teenage deaths in South Africa and there is growing evidence that social media sites are in part to blame for this ever increasing figure. One group of teen 'outsiders', known as Emos, and who primarily use the Internet to connect with like-minded others, seems to be particularly at risk of suicide and suicidal behaviour such as self -harming. According to a 2012 Nelson Mandela Metropolitan University (NMMU) study that analysed the content of “Emo” teenage groups on Facebook they found there is indeed a connection between teen use of social media and the 'glamourisation' of suicidal behavior. Who are these emo kids? The Emo phenomenon (emo is an abbreviation for emotional) began in the U.S. in the 1980s and spread across the world, from the US to Europe, Russia, the Middle East and South Africa. It is a largely teenage trend and the members are characterised by depression and self harming - self-harm includes attempted suicide and what's known as self harming or non-suicidal self- injury (NSSI), along with the glamourisation of suicide. -
Bad Rhetoric: Towards a Punk Rock Pedagogy Michael Utley Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 8-2012 Bad Rhetoric: Towards A Punk Rock Pedagogy Michael Utley Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Rhetoric and Composition Commons Recommended Citation Utley, Michael, "Bad Rhetoric: Towards A Punk Rock Pedagogy" (2012). All Theses. 1465. https://tigerprints.clemson.edu/all_theses/1465 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. BAD RHETORIC: TOWARDS A PUNK ROCK PEDAGOGY A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Michael M. Utley August 2012 Accepted by: Dr. Jan Rune Holmevik, Committee Chair Dr. Cynthia Haynes Dr. Scot Barnett TABLE OF CONTENTS Page Introduction ..........................................................................................................................4 Theory ................................................................................................................................32 The Bad Brains: Rhetoric, Rage & Rastafarianism in Early 1980s Hardcore Punk ..........67 Rise Above: Black Flag and the Foundation of Punk Rock’s DIY Ethos .........................93 Conclusion .......................................................................................................................109 -
Michael Jackson Betwixt and Between: the Construction of Identity in 'Leave Me Alone' (1989)
Contents Introduction 2 Chapter 1: Literature Review 4 1.1: Past Research: On Michael Jackson Studies 4 1.2: Disability Studies 4 1.2.1: The Static Freak/Plastic Freak 6 1.3: Defining the Liminal 7 1.4: Postmodern Theory: The Social Construction of Identity 8 Chapter 2: Methodology 10 Chapter 3: Analysis 12 3.1: Narrative Structure of ‘Leave Me Alone’ 12 3.2: Media Narratives in ‘Leave Me Alone’ 13 3.3: The Static Freak/Plastic Freak in ‘Leave Me Alone’ 15 3.4: Liminal Identity: Temporary Phase/Permanent Place 16 3.5: Postmodern Subjects: The Aesthetics of the Collage 17 3.6: Identity and Postmodernism: The Problem With Disability Studies 18 Chapter 4: Conclusion 20 Bibliography 22 Attachment 1: Images 24 Attachment 2: Shotlist ‘Leave Me Alone’ 27 1 Introduction ‘The bottom line is they don’t know and everyone is going to continue searching to find out whether I’m gay, straight, or whatever … And the longer it takes to discover this, the more famous I will be.’1 * * * ‘Michael’s space-age diet’, ‘Bubbles the chimp bares all about Michael’, ‘Michael proposes to Liz’, ‘Michael to marry Brooke’. These may look like part of the usual rumors about Jackson frequently appearing in the media, however, they are not. Instead, these headlines are the opening scene of the music video for Jackson’s song ‘Leave Me Alone’, released on January 2, 1989, and directed by Jim Blashfield. Jackson opens by singing the words: I don't care what you talkin' 'bout baby I don't care what you say Don't you come walkin' beggin' back mama I don't care anyway ‘Leave Me Alone’ is a response to the rumors that began to circulate in the media after the worldwide success of Jackson’s 1982 album Thriller. -
The Sound of Ruins: Sigur Rós' Heima and the Post
CURRENT ISSUE ARCHIVE ABOUT EDITORIAL BOARD ADVISORY BOARD CALL FOR PAPERS SUBMISSION GUIDELINES CONTACT Share This Article The Sound of Ruins: Sigur Rós’ Heima and the Post-Rock Elegy for Place ABOUT INTERFERENCE View As PDF By Lawson Fletcher Interference is a biannual online journal in association w ith the Graduate School of Creative Arts and Media (Gradcam). It is an open access forum on the role of sound in Abstract cultural practices, providing a trans- disciplinary platform for the presentation of research and practice in areas such as Amongst the ways in which it maps out the geographical imagination of place, music plays a unique acoustic ecology, sensory anthropology, role in the formation and reformation of spatial memories, connecting to and reviving alternative sonic arts, musicology, technology studies times and places latent within a particular environment. Post-rock epitomises this: understood as a and philosophy. The journal seeks to balance kind of negative space, the genre acts as an elegy for and symbolic reconstruction of the spatial its content betw een scholarly w riting, erasures of late capitalism. After outlining how post-rock’s accommodation of urban atmosphere accounts of creative practice, and an active into its sonic textures enables an ‘auditory drift’ that orients listeners to the city’s fragments, the engagement w ith current research topics in article’s first case study considers how formative Canadian post-rock acts develop this concrete audio culture. [ More ] practice into the musical staging of urban ruin. Turning to Sigur Rós, the article challenges the assumption that this Icelandic quartet’s music simply evokes the untouched natural beauty of their CALL FOR PAPERS homeland, through a critical reading of the 2007 tour documentary Heima. -
Computer Ownership up Sharply in the 1990S
in Labor Statistics U.S. Department of Labor IssuesBureau of Labor Statistics Summary 99-4 March 1999 Computer Ownership Up Sharply in the 1990s raphical user interfaces, mul- 66 percent of American households whose over the age of 65 owned computers in timedia CD-ROMs, and the reference person3 had attended graduate either year, but consumer units with refer- G Internet have increased accessi- school reported owning a computer, com- ence persons aged 55-64 had the largest bility and people’s understanding of com- pared with less than 12 percent of those increase in computer ownership. puters. And greater understanding has headed by one who did not graduate from brought substantially greater ownership. high school. College graduates had the Race. Between 1990 and 1997, all racial Between 1990 and 1997, the percentage of largest increase in ownership, more than groups increased their ownership of per- households1 owning computers increased doubling from 24 percent in 1990 to 56 per- sonal computers, however, there was a from 15 percent to 35 percent. During this cent in 1997 (see chart). High school gradu- large disparity among the different groups time, the amount spent by the average ates also showed a significant increase in in both years. Ownership among blacks household on computers and associated computer ownership, from 9 percent in 1990 more than doubled between 1990 and 1997, hardware more than tripled. This report to 23 percent in 1997. from 7 percent to 18 percent. Asians briefly examines the demographics of com- showed the largest percentage point puter ownership (also see table ) as re- change in ownership, growing from 25 Age. -
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. -
The Melbourne Punk Scene in Australia's Independent Music History
ANZCA09 Communication, Creativity and Global Citizenship. Brisbane, July 2009 The Melbourne Punk Scene in Australia’s Independent Music History Morgan Langdon La Trobe University [email protected] Morgan Langdon completed her Honours in Media Studies at La Trobe University. This paper is an excerpt from her thesis on the history of independent music culture in Melbourne. She plans to begin her PhD in 2010. Abstract The existence of independent music communities and culture within Australia’s major cities today is largely attributed to the introduction of punk in the late 1970s. Among the inner city youth, a tiny subculture emerged around this sprawling, haphazard style of music that was quickly dismissed by the major players in the Australian music industry as bereft of commercial possibilities. Left to its own devices, punk was forced to rely solely on the strength of the independent music network to release some of the most original music of the era and lay the foundations for a celebrated musical culture. This paper examines the factors that contributed to and influenced the early Australian punk scenes, focusing in particular on Melbourne between 1975 and 1981. It shows that the emergence and characteristics of independent music communities within individual cities can be attributed to the existence of certain factors and institutions, both external and internal to the city. Keywords Australian music history, subculture, punk, independent music. Introduction In 1986, the Australian Broadcasting Tribunal published the results of an inquiry into the importance of the broadcasting quota for local music content. Throughout this inquiry, investigations are made into the existence of a distinctly Australian “sound”. -
Crime and Incarceration in the 1990S
Diminishing Returns: Crime and Incarceration in the 1990s By Jenni Gainsborough and Marc Mauer September 2000 This report was written by Jenni Gainsborough, Senior Policy Analyst, and Marc Mauer, Assistant Director, of The Sentencing Project. The Sentencing Project is a national non-profit organization engaged in research and advocacy on criminal justice policy issues. Funding for this report was made possible by support from the Center on Crime, Communities and Culture of the Open Society Institute. Copyright © 2000, by The Sentencing Project. Reproduction of this document in full or in part in print or electronic format only by permission of The Sentencing Project. For further information: The Sentencing Project 514 Tenth NW, Suite 1000 Washington, D.C. 20004 (202) 628-0871 www.sentencingproject.org 2 Diminishing Returns: Crime and Incarceration in the 1990s We figured out what to do with criminals. Innovations in policing helped, but the key insight was an old one: Lock’em up. Charles Murray , American Enterprise Institute. 1 Putting people in prison is the single most important thing we’ve done [to decrease crime]. James Q. Wilson, Professor Emeritus, The Anderson School, University of California at Los Angeles. 2 Overview Since the 1970s, political leaders have addressed public concern about crime by devoting unprecedented rhetorical and financial resources to the construction of prisons. As a result, the scale of incarceration has expanded from about 330,000 Americans in prison and jail in 1972 to nearly two million today. The cost of prison construction and housing now totals nearly $40 billion annually. Beginning in the early 1990s, crime rates began to decline significantly around the nation.