May 2009 Volume 9, Issue 2 BORED STIFF Are A
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Here Is a Printable
Ryan Leach is a skateboarder who grew up in Los Angeles and Ventura County. Like Belinda Carlisle and Lorna Doom, he graduated from Newbury Park High School. With Mor Fleisher-Leach he runs Spacecase Records. Leach’s interviews are available at Bored Out (http://boredout305.tumblr.com/). Razorcake is a bi-monthly, Los Angeles-based fanzine that provides consistent coverage of do-it-yourself punk culture. We believe in positive, progressive, community-friendly DIY punk, and are the only bona fide 501(c)(3) non-profit music magazine in America. We do our part. An Oral History of The Gun Club originally appeared in Razorcake #29, released in December 2005/January 2006. Original artwork and layout by Todd Taylor. Photos by Edward Colver, Gary Leonard and Romi Mori. Cover photo by Edward Colver. Zine design by Marcos Siref. Printing courtesy of Razorcake Press, Razorcake.org he Gun Club is one of Los Angeles’s greatest bands. Lead singer, guitarist, and figurehead Jeffrey Lee Pierce fits in easily with Tthe genius songwriting of Arthur Lee (Love), Chris Hillman (Byrds), and John Doe and Exene (X). Unfortunately, neither he nor his band achieved the notoriety of his fellow luminary Angelinos. From 1979 to 1996, Jeffrey manned the Gun Club ship through thick and mostly thin. Understandably, the initial Fire of Love and Miami lineup of Ward Dotson (guitar), Rob Ritter (bass), Jeffrey Lee Pierce (vocals/ guitar) and Terry Graham (drums) remains the most beloved; setting the spooky, blues-punk template for future Gun Club releases. At the time of its release, Fire of Love was heralded by East Coast critics as one of the best albums of 1981. -
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. -
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 -
San Antonio's West Side Sound
Olsen: San Antonio's West Side Sound San Antonio’s SideSound West Antonio’s San West Side Sound The West Side Sound is a remarkable they all played an important role in shaping this genre, Allen O. Olsen amalgamation of different ethnic beginning as early as the 1950s. Charlie Alvarado, Armando musical influences found in and around Almendarez (better known as Mando Cavallero), Frank San Antonio in South-Central Texas. It Rodarte, Sonny Ace, Clifford Scott, and Vernon “Spot” Barnett includes blues, conjunto, country, all contributed to the creation of the West Side Sound in one rhythm and blues, polka, swamp pop, way or another. Alvarado’s band, Charlie and the Jives, had such rock and roll, and other seemingly regional hits in 1959 as “For the Rest of My Life” and “My disparate styles. All of these have Angel of Love.” Cavallero had an influential conjunto group somehow been woven together into a called San Antonio Allegre that played live every Sunday sound that has captured the attention of morning on Radio KIWW.5 fans worldwide. In a sense, the very Almendarez formed several groups, including the popular eclectic nature of the West Side Sound rock and roll band Mando and the Chili Peppers. Rodarte led reflects the larger musical environment a group called the Del Kings, which formed in San Antonio of Texas, in which a number of ethnic during the late 1950s, and brought the West Side Sound to Las communities over the centuries have Vegas as the house band for the Sahara Club, where they exchanged musical traditions in a remained for nearly ten years.6 Sonny Ace had a number of prolific “cross-pollination” of cultures. -
Victorgories Packet Packet by Victor Pavao
Victorgories Packet Packet by Victor Pavao 1. In this symphony’s final movement, the horns introduce a disjunct secondary theme beginning “dotted half C, quarter note low G, dotted half high E.” Violins and cellos play thirty-second notes in the A-flat minor, third variation in this symphony’s second movement. Leonard Bernstein’s debut lecture on the CBS program (*) Omnibus was an analysis of this symphony. This symphony’s first movement features an oboe cadenza near the recapitulation. This symphony’s third movement continues into the fourth without pause, and ends with a note-for-note copy of the overture from Cherubini’s Eliza, which includes repeated C major chords. For 10 points, name this symphony whose first movement opens with the “G G G long Eb” fate motif. ANSWER: Ludwig van Beethoven, Symphony No. 5 in C Minor (prompt on “fate”) 2. A character who stays at this location repeatedly mentions her “cup of stars” after hearing a young girl demand one in a country restaurant. Two sisters who lived at this location fought bitterly over some family heirlooms, an argument that resulted in a companion’s suicide. While staying in this location, a character wakes up in the middle of the night to climb a deteriorated iron stairway. Arthur uses a device called a planchette in this place, which was once owned by Hugh (*) Crain. Theodora finds her room and clothes splashed in blood in this building, which is also visited by guests like Luke Sanderson and Eleanor Vance, who were invited to stay by Dr. -
1978-05-22 P MACHO MAN Village People RCA 7" Vinyl Single 103106 1978-05-22 P MORE LIKE in the MOVIES Dr
1978-05-22 P MACHO MAN Village People RCA 7" vinyl single 103106 1978-05-22 P MORE LIKE IN THE MOVIES Dr. Hook EMI 7" vinyl single CP 11706 1978-05-22 P COUNT ON ME Jefferson Starship RCA 7" vinyl single 103070 1978-05-22 P THE STRANGER Billy Joel CBS 7" vinyl single BA 222406 1978-05-22 P YANKEE DOODLE DANDY Paul Jabara AST 7" vinyl single NB 005 1978-05-22 P BABY HOLD ON Eddie Money CBS 7" vinyl single BA 222383 1978-05-22 P RIVERS OF BABYLON Boney M WEA 7" vinyl single 45-1872 1978-05-22 P WEREWOLVES OF LONDON Warren Zevon WEA 7" vinyl single E 45472 1978-05-22 P BAT OUT OF HELL Meat Loaf CBS 7" vinyl single ES 280 1978-05-22 P THIS TIME I'M IN IT FOR LOVE Player POL 7" vinyl single 6078 902 1978-05-22 P TWO DOORS DOWN Dolly Parton RCA 7" vinyl single 103100 1978-05-22 P MR. BLUE SKY Electric Light Orchestra (ELO) FES 7" vinyl single K 7039 1978-05-22 P HEY LORD, DON'T ASK ME QUESTIONS Graham Parker & the Rumour POL 7" vinyl single 6059 199 1978-05-22 P DUST IN THE WIND Kansas CBS 7" vinyl single ES 278 1978-05-22 P SORRY, I'M A LADY Baccara RCA 7" vinyl single 102991 1978-05-22 P WORDS ARE NOT ENOUGH Jon English POL 7" vinyl single 2079 121 1978-05-22 P I WAS ONLY JOKING Rod Stewart WEA 7" vinyl single WB 6865 1978-05-22 P MATCHSTALK MEN AND MATCHTALK CATS AND DOGS Brian and Michael AST 7" vinyl single AP 1961 1978-05-22 P IT'S SO EASY Linda Ronstadt WEA 7" vinyl single EF 90042 1978-05-22 P HERE AM I Bonnie Tyler RCA 7" vinyl single 1031126 1978-05-22 P IMAGINATION Marcia Hines POL 7" vinyl single MS 513 1978-05-29 P BBBBBBBBBBBBBOOGIE -
Metal Matters. Heavy Metal Als Kultur Und Welt
Andreas Salmhofer Grindcore – eine ›extreme‹ Mutation des Metals? Zur Diskursivierung des Grindcore Einleitung und grundsätzliche Fragestellungen Sobald Grindcore, Grind oder lediglich die Endsilbe -grind vorkommt, ist für Metal- oder Punk-Fans klar, dass hier von extremen musikalischen Auswüch- sen die Rede ist. Grindcore hat das Wesen eines rhetorischen Sinnbildes und fungiert als Metapher in einer Rhetorik, die der Musik das Attribut ›brutal‹ zuordnet. Dieser Begriff genießt zwar bis dato eine äußerst inflationäre Ver- wendung im Metal-Diskurs und steht in der Metal-Primärliteratur gleichbe- rechtigter Weise neben etablierten Genrebegriffen, wie etwa Death Metal oder Black Metal, wenn auch als äußerst eng definierter Genrebegriff, doch bleibt er in der (wissenschaftlichen) Sekundärliteratur marginalisiert oder gänzlich un- berücksichtigt. In der (insgesamt randständigen) wissenschaftlichen Aufarbei- tung erfährt der Begriff Grindcore eine Verortung¯1 zwischen wissenschaft- licher Irrelevanz und Ignoranz. Dieser Artikel versucht einen gänzlich neuen Ansatz zu präsentieren, der die grundsätzlichen Konstanten des Metal-Diskurses negiert, zumindest aber bis zu einem gewissen Grad erweitert oder gar dessen Ende andeutet. Ein Versuch, die Charakteristik des Grindcore ausschließlich entlang musikstilistischer Pa- radigmen des Metals oder des Punks zu skizzieren, lässt nur eine begrenzte Dimensionierung innerhalb popkultureller Maßstäbe zu. Demgegenüber soll hier die These vertreten werden, dass sich abseits oder als Erweiterung des Metals und des Punks ein sogenannter Grindcore-Diskurs konstituiert hat. Die Beweisführung erfolgt über interpretative Methoden anhand der Lektüre sze- nespezifischer Primärquellen,¯2 Sekundärliteratur sowie anhand von Daten- material, welches mit den Methodiken der Grounded Theory erhoben wurde (vgl. beispielsweise Glaser/Strauss 1998).¯3 Um dies zu bewerkstelligen, muss versucht werden, den Metal-Diskurs in seiner Gesamtheit zu kategorisieren. -
Spinner Exclusives
Shonen Knife Reissue Albums in English, Play Pop Montreal - Spinner Page 1 of 8 • AOL • MAIL • ◦ You might also like: ◦ Music | ◦ Movies | ◦ TV | ◦ Celebrity News ◦ and More • Sign In / Register Search the Web Search for Artists, Songs andSubmit More Query • Main • Features ◦ The Hit List ◦ Spinner Interview ◦ Tributes & Essays ◦ Potent Quotables ◦ Music Appreciation • Songs ◦ Free MP3 of the Day ◦ Full CD Listening Party ◦ What's That Song? ◦ Listen Up! • Videos ◦ The Interface ◦ Sessions ◦ Video of the Day ◦ All Videos • Radio ◦ AOL Radio ◦ AOL Radio Toolbar ◦ Shoutcast • AOL Music Sites ◦ The Boot ◦ The BoomBox ◦ Noisecreep ◦ PopEater • Lyrics • Send Feedback Spinner Exclusives • The Interface - Live Performances Listen to Spinner's Recent MP3 of the Day Picks http://www.spinner.com/2010/09/30/shonen -knife -reissue -albums -pop -montreal/ 9/30/2010 Shonen Knife Reissue Albums in English, Play Pop Montreal - Spinner Page 2 of 8 • Listening Parties - New CDS for Free • Spinner Radio • Listening Parties - New CDS for Free Features • Best Opening Lyrics • Cinema Music Geeks • College Songs • Rock's College Rankings • Sad Songs • School Songs All Categories • A Day in the Life (3) • All About Jazz (58) • Around the World (168) • Book Club (79) • Celebrity Doppelganger (16) • Clash of the Cover Songs (48) • Coming Out Stories (20) • Concerts and Tours (5186) • Count Five (68) • Defining Moments (1) • Exclusive (3892) • Free MP3 Download of the Day (1138) • Grammy Awards (87) • Guest Blogger (103) • Holy Hell (797) • I Fought the Law (53) • I Freakin' Love This Song (239) • Listen Up! (10) • Movies (270) • Music Appreciation (82) • New Music (470) • New Releases (154) • News (7801) • No Date (0) • Picture Book (7) • Politics as Usual (41) • Pop Culture (52) • Potent Quotables (768) • Q + A (38) • Quizzes & Trivia (3) • R.I.P. -
America's Hardcore.Indd 278-279 5/20/10 9:28:57 PM Our First Show at an Amherst Youth Center
our first show at an Amherst youth center. Scott Helland’s brother Eric’s band Mace played; they became The Outpatients. Our first Boston show was with DYS, The Mighty COs and The AMERICA’S HARDCORE FU’s. It was very intense for us. We were so intimidated. Future generations will fuck up again THE OUTPATIENTS got started in 1982 by Deep Wound bassist Scott Helland At least we can try and change the one we’re in and his older brother Eric “Vis” Helland, guitarist/vocalist of Mace — a 1980-82 — Deep Wound, “Deep Wound” Metal group that played like Motörhead but dug Black Flag (a rare blend back then). The Outpatients opened for bands like EAST COAST Black Flag, Hüsker Dü and SSD. Flipside called ’em “one of the most brutalizing live bands In 1980, over-with small cities and run-down mill towns across the Northeast from the period.” 1983’s gnarly Basement Tape teemed with bored kids with nothing to do. Punk of any kind earned a cultural demo included credits that read: “Play loud in death sentence in the land of stiff upper-lipped Yanks. That cultural isolation math class.” became the impetus for a few notable local Hardcore scenes. CANCEROUS GROWTH started in 1982 in drummer Charlie Infection’s Burlington, WESTERN MASSACHUSETTS MA bedroom, and quickly spread across New had an active early-80s scene of England. They played on a few comps then 100 or so inspired kids. Western made 1985’s Late For The Grave LP in late 1984 Mass bands — Deep Wound, at Boston’s Radiobeat Studios (with producer The Outpatients, Pajama Slave Steve Barry). -
Max Ward Collection of Powerviolence Material, 1990S-Early 2000S LSC.2345
http://oac.cdlib.org/findaid/ark:/13030/c81n86bc No online items Finding Aid for the Max Ward Collection of Powerviolence Material, 1990s-early 2000s LSC.2345 Finding aid prepared by Kuhelika Ghosh, 2017 UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Online finding aid last updated 16 January 2018. Finding Aid for the Max Ward LSC.2345 1 Collection of Powerviolence Material, 1990s-early 2000s ... Title: Max Ward Collection of Powerviolence material Identifier/Call Number: LSC.2345 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 5.6 linear feet(10 boxes, 2 flat oversize boxes) Date (inclusive): 1990s-early 2000s Abstract: The collection documents the emergence of the Powerviolence music scene, a little known subgenre of hardcore punk, which was primarily active in the 1990s through the early 2000s. Materials consists of original fliers, posters, handbills, correspondence, photographs, stickers, zines, and patches collected by San Francisco Bay Area drummer, Max Ward. Language of Materials: Materials are primarily in English with a small amount in Japanese. Physical Location: Stored off-site at SRLF. All requests to access special collections material must be made in advance using the request button located on this page. Creator: Ward, Max Conditions Governing Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. All requests to access special collections material must be made in advance using the request button located on this page. Conditions Governing Reproduction and Use Property rights to the physical object belong to the UCLA Library Special Collections. -
Atom and His Package Possibly the Smallest Band on the List, Atom & His
Atom and His Package Possibly the smallest band on the list, Atom & his Package consists of Adam Goren (Atom) and his package (a Yamaha music sequencer) make funny punk songs utilising many of of the package's hundreds of instruments about the metric system, the lead singer of Judas Priest and what Jewish people do on Christmas. Now moved on to other projects, Atom will remain the person who told the world Anarchy Means That I Litter, The Palestinians Are Not the Same Thing as the Rebel Alliance Jackass, and If You Own The Washington Redskins, You're a ****. Ghost Mice With only two members in this folk/punk band their voices and their music can be heard along with such pride. This band is one of the greatest to come out of the scene because of their abrasive acoustic style. The band consists of a male guitarist (I don't know his name) and Hannah who plays the violin. They are successful and very well should be because it's hard to 99 when you have such little to work with. This band is off Plan It X records and they put on a fantastic show. Not only is the band one of the leaders of the new genre called folk/punk but I'm sure there is going to be very big things to come from them and it will always be from the heart. Defiance, Ohio Defiance, Ohio are perhaps one of the most compassionate and energetic leaders of the "folk/punk" movement. Their clever lyrics accompanied by fast, melodic, acoustic guitars make them very enjoyable to listen to. -
Rebel Issue Savages the Go Go's
a magazine about female drummers TOM TOM MAGAZINE summer 2014 #18: the rebel issue rebel issue sa va ges Fay Milton Kris Ramos of STOMP Didi Negron of the Cirque du Soleil Go go’s Gina Schock Alicia Warrington ISSUE 18 | USD $6 DISPLAY SUMMER 2014 kate nash CONTRIBUTORS INSIDE issUE 18 FOUNDER/pUblishER/EDiTOR-iN-ChiEF Mindy Abovitz ([email protected]) BACKSTAGE WITH STOMP maNagiNg EDitor Melody Allegra Berger 18 REViEWs EDitor Rebecca DeRosa ([email protected]) DEsigNERs Candice Ralph, Marisa Kurk & My Nguyen CIRQUE DU SOLEIL CODERs Capisco Marketing 20 WEb maNagER Andrea Davis NORThWEsT CORREspONDENT Lisa Schonberg PLANNINGTOROCK NORThWEsT CREW Katherine Paul, Leif J. Lee, Fiona CONTRibUTiNg WRiTER Kate Ryan 24 Campbell, Kristin Sidorak la CORREspONDENTs Liv Marsico, Candace Hensen OUR FRIENDS HABIBI miami CORREspONDENT Emile Milgrim 26 bOston CORREspONDENT Kiran Gandhi baRCElONa CORREspONDENT Cati Bestard NyC DisTRO Segrid Barr ALICIA WARRINGTON/KATE NASH EUROpEaN DisTRO Max Markowsky 29 COpy EDiTOR Anika Sabin WRiTERs Chloe Saavedra, Rachel Miller, Shaina FAY FROM SAVAGES Machlus, Sarah Strauss, Emi Kariya, Jenifer Marchain, Cassandra Baim, Candace Hensen, Mar Gimeno 32 Lumbiarres, Kate Ryan, Melody Berger, Lauren Flax, JD Samson, Max Markowsky illUsTRator Maia De Saavedra TEChNiqUE WRiTERs Morgan Doctor, Fernanda Terra gina from the go-go’s Vanessa Domonique 36 phOTOgRaphERs Bex Wade, Ikue Yoshida, Chloe Aftel, Stefano Galli, Cortney Armitage, Jessica GZ, John Carlow, Annie Frame SKIP THE NEEDLE illUsTRaTORs Maia De Saavedra