Understanding Youth and Culture
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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. -
LONS SOYC 323S Subject: Sociology Credits: 3 Semester/Term: ☐ Semester ☐ J-Term University ☒ Summer
Course Title: The Original Youth Culture: Teenagers and Subcultures in Postwar Britain Course Code: LONS SOYC 323S Subject: Sociology Credits: 3 Semester/Term: ☐ Semester ☐ J-Term University ☒ Summer Course Description: The first teenage culture explored investigated… Postwar buildings of London and Liverpool explored… Britain’s youth subcultures in the 1950s andArcadia 60s examined … From the Teddy Boys to the Mods…from Rock’n Roll to The Beatles The Battle of Brighton. The course will comprise of field studies, lectures and seminar discussions Course Required Text Requirements: 1. MOD: From Bepop tocopyright Britpop, Britain’s Biggest Youth Movement by Richard Weight (Vintage:London, 2015). ISBN: 978-0099597889, Cost: To Be Determined 2. Never Had it So Good: A History of Britain from Suez to the Beatles by Dominic Sandbrook (Little Brown: London, 2005). ISBN: 978-0349141276, Cost: To Be Determinedproperty 3. Selections from The Spiv and the Architect: Unruly Life in Postwar London by Richard Hornsey (University of Minnesota: London, 2010). ISBN: 978-0816653157, Cost: To Be Determined IntellectualAdditional Readings and Resources Articles and power-point lecture slides are available from the instructor on the course Blackboard site through Arcadia University. Assignments Course Requirements Percentages 1. Reflective Essays on Site Visits 30 % 2. Final Essay 60 % © Arcadia University | The College of Global Studies 1 3. Presentation 10 % Total 100% 1. Reflective Essays After each field study the student is expected to write a 3-page reflective essay which also incorporates ideas and thoughts from the Universityreadings. Students should discuss what is left of the subcultures in the sites we visit, and what kind of people the sites now attract. -
The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century
The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century by Darryl Mark Cressman M.A. (Communication), University of Windsor, 2004 B.A (Hons.), University of Windsor, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © Darryl Mark Cressman 2012 SIMON FRASER UNIVERSITY Fall 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Darryl Mark Cressman Degree: Doctor of Philosophy (Communication) Title of Thesis: The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century Examining Committee: Chair: Martin Laba, Associate Professor Andrew Feenberg Senior Supervisor Professor Gary McCarron Supervisor Associate Professor Shane Gunster Supervisor Associate Professor Barry Truax Internal Examiner Professor School of Communication, Simon Fraser Universty Hans-Joachim Braun External Examiner Professor of Modern Social, Economic and Technical History Helmut-Schmidt University, Hamburg Date Defended: September 19, 2012 ii Partial Copyright License iii Abstract Taking the relationship -
6.4. of Goths and Salmons: a Practice-Basedeexploration of Subcultural Enactments in 1980S Milan
6.4. Of goths and salmons: A practice-basedeExploration of subcultural enactments in 1980s Milan Simone Tosoni1 Abstract The present paper explores, for the first time, the Italian appropriations of British goth in Italy, and in particular in the 1980s in Milan. Adopting a practice-based approach and a theoretical framework based on the STS-derived concept of “enactment”, it aims at highlighting the coexistence of different forms of subcultural belonging. In particular, it identifies three main enactments of goth in the 1980s in Milan: the activist enactment introduced by the collective Creature Simili (Kindred Creatures); the enactment of the alternative music clubs and disco scene spread throughout northern Italy; and a third one, where participants enacted dark alone or in small groups. While these three different variations of goth had the same canon of subcultural resources in common (music, style, patterns of cultural consumption), they differed under relevant points of view, such as forms of socialization, their stance on political activism, identity construction processes and even the relationship with urban space. Yet, contrary to the stress on individual differences typical of post-subcultural theories, the Milanese variations of goth appear to have been socially shared and connected to participation in different and specific sets of social practices of subcultural enactment. Keywords: goth, subculture, enactment, practices, canon, scene, 1980s. For academic research, the spectacular subcultures (Hebdidge, 1979) in the 1980s in Italy are essentially uncharted waters (Tosoni, 2015). Yet, the topic deserves much more sustained attention. Some of these spectacular youth expressions, in fact, emerged in Italy as a peculiarity of the country, and are still almost ignored in the international debate. -
We're Not Nazis, But…
August 2014 American ideals. Universal values. Acknowledgements On human rights, the United States must be a beacon. This report was made possible by the generous Activists fighting for freedom around the globe continue to support of the David Berg Foundation and Arthur & look to us for inspiration and count on us for support. Toni Rembe Rock. Upholding human rights is not only a moral obligation; it’s Human Rights First has for many years worked to a vital national interest. America is strongest when our combat hate crimes, antisemitism and anti-Roma policies and actions match our values. discrimination in Europe. This report is the result of Human Rights First is an independent advocacy and trips by Sonni Efron and Tad Stahnke to Greece and action organization that challenges America to live up to Hungary in April, 2014, and to Greece in May, 2014, its ideals. We believe American leadership is essential in as well as interviews and consultations with a wide the struggle for human rights so we press the U.S. range of human rights activists, government officials, government and private companies to respect human national and international NGOs, multinational rights and the rule of law. When they don’t, we step in to bodies, scholars, attorneys, journalists, and victims. demand reform, accountability, and justice. Around the We salute their courage and dedication, and give world, we work where we can best harness American heartfelt thanks for their counsel and assistance. influence to secure core freedoms. We are also grateful to the following individuals for We know that it is not enough to expose and protest their work on this report: Tamas Bodoky, Maria injustice, so we create the political environment and Demertzian, Hanna Kereszturi, Peter Kreko, Paula policy solutions necessary to ensure consistent respect Garcia-Salazar, Hannah Davies, Erica Lin, Jannat for human rights. -
Burn It Down! Anarchism, Activism, and the Vancouver Five, 1967–1985
Burn it Down! Anarchism, Activism, and the Vancouver Five, 1967–1985 by Eryk Martin M.A., University of Victoria, 2008 B.A. (Hons.), University of Victoria, 2006 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of History Faculty of Arts and Social Sciences © Eryk Martin 2016 SIMON FRASER UNIVERSITY Spring 2016 Approval Name: Eryk Martin Degree: Doctor of Philosophy (History) Title: Burn it Down! Anarchism, Activism, and the Vancouver Five, 1967–1985 Examining Committee: Chair: Dimitris Krallis Associate Professor Mark Leier Senior Supervisor Professor Karen Ferguson Supervisor Professor Roxanne Panchasi Supervisor Associate Professor Lara Campbell Internal Examiner Professor Gender, Sexuality, and Women’s Studies Joan Sangster External Examiner Professor Gender and Women’s Studies Trent University Date Defended/Approved: January 15, 2016 ii Ethics Statement iii Abstract This dissertation investigates the experiences of five Canadian anarchists commonly knoWn as the Vancouver Five, Who came together in the early 1980s to destroy a BC Hydro power station in Qualicum Beach, bomb a Toronto factory that Was building parts for American cruise missiles, and assist in the firebombing of pornography stores in Vancouver. It uses these events in order to analyze the development and transformation of anarchist activism between 1967 and 1985. Focusing closely on anarchist ideas, tactics, and political projects, it explores the resurgence of anarchism as a vibrant form of leftWing activism in the late tWentieth century. In addressing the ideological basis and contested cultural meanings of armed struggle, it uncovers Why and how the Vancouver Five transformed themselves into an underground, clandestine force. -
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 -
Punk: Music, History, Sub/Culture Indicate If Seminar And/Or Writing II Course
MUSIC HISTORY 13 PAGE 1 of 14 MUSIC HISTORY 13 General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number Music History 13 Course Title Punk: Music, History, Sub/Culture Indicate if Seminar and/or Writing II course 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice x Foundations of Society and Culture • Historical Analysis • Social Analysis x Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. This course falls into social analysis and visual and performance arts analysis and practice because it shows how punk, as a subculture, has influenced alternative economic practices, led to political mobilization, and challenged social norms. This course situates the activity of listening to punk music in its broader cultural ideologies, such as the DIY (do-it-yourself) ideal, which includes nontraditional musical pedagogy and composition, cooperatively owned performance venues, and underground distribution and circulation practices. Students learn to analyze punk subculture as an alternative social formation and how punk productions confront and are times co-opted by capitalistic logic and normative economic, political and social arrangements. 3. "List faculty member(s) who will serve as instructor (give academic rank): Jessica Schwartz, Assistant Professor Do you intend to use graduate student instructors (TAs) in this course? Yes x No If yes, please indicate the number of TAs 2 4. -
The Commodification of Whitby Goth Weekend and the Loss of a Subculture
View metadata, citation and similarbrought COREpapers to youat core.ac.ukby provided by Leeds Beckett Repository The Strange and Spooky Battle over Bats and Black Dresses: The Commodification of Whitby Goth Weekend and the Loss of a Subculture Professor Karl Spracklen (Leeds Metropolitan University, UK) and Beverley Spracklen (Independent Scholar) Lead Author Contact Details: Professor Karl Spracklen Carnegie Faculty Leeds Metropolitan University Cavendish Hall Headingley Campus Leeds LS6 3QU 44 (0)113 812 3608 [email protected] Abstract From counter culture to subculture to the ubiquity of every black-clad wannabe vampire hanging around the centre of Western cities, Goth has transcended a musical style to become a part of everyday leisure and popular culture. The music’s cultural terrain has been extensively mapped in the first decade of this century. In this paper we examine the phenomenon of the Whitby Goth Weekend, a modern Goth music festival, which has contributed to (and has been altered by) the heritage tourism marketing of Whitby as the holiday resort of Dracula (the place where Bram Stoker imagined the Vampire Count arriving one dark and stormy night). We examine marketing literature and websites that sell Whitby as a spooky town, and suggest that this strategy has driven the success of the Goth festival. We explore the development of the festival and the politics of its ownership, and its increasing visibility as a mainstream tourist destination for those who want to dress up for the weekend. By interviewing Goths from the north of England, we suggest that the mainstreaming of the festival has led to it becoming less attractive to those more established, older Goths who see the subculture’s authenticity as being rooted in the post-punk era, and who believe Goth subculture should be something one lives full-time. -
SUBCULTURE: the MEANING of STYLE with Laughter in the Record-Office of the Station, and the Police ‘Smelling of Garlic, Sweat and Oil, But
DICK HEBDIGE SUBCULTURE THE MEANING OF STYLE LONDON AND NEW YORK INTRODUCTION: SUBCULTURE AND STYLE I managed to get about twenty photographs, and with bits of chewed bread I pasted them on the back of the cardboard sheet of regulations that hangs on the wall. Some are pinned up with bits of brass wire which the foreman brings me and on which I have to string coloured glass beads. Using the same beads with which the prisoners next door make funeral wreaths, I have made star-shaped frames for the most purely criminal. In the evening, as you open your window to the street, I turn the back of the regulation sheet towards me. Smiles and sneers, alike inexorable, enter me by all the holes I offer. They watch over my little routines. (Genet, 1966a) N the opening pages of The Thief’s Journal, Jean Genet describes how a tube of vaseline, found in his Ipossession, is confiscated by the Spanish police during a raid. This ‘dirty, wretched object’, proclaiming his homosexuality to the world, becomes for Genet a kind of guarantee - ‘the sign of a secret grace which was soon to save me from contempt’. The discovery of the vaseline is greeted 2 SUBCULTURE: THE MEANING OF STYLE with laughter in the record-office of the station, and the police ‘smelling of garlic, sweat and oil, but . strong in their moral assurance’ subject Genet to a tirade of hostile innuendo. The author joins in the laughter too (‘though painfully’) but later, in his cell, ‘the image of the tube of vaseline never left me’. -
Put on Your Boots and Harrington!': the Ordinariness of 1970S UK Punk
Citation for the published version: Weiner, N 2018, '‘Put on your boots and Harrington!’: The ordinariness of 1970s UK punk dress' Punk & Post-Punk, vol 7, no. 2, pp. 181-202. DOI: 10.1386/punk.7.2.181_1 Document Version: Accepted Version Link to the final published version available at the publisher: https://doi.org/10.1386/punk.7.2.181_1 ©Intellect 2018. All rights reserved. General rights Copyright© and Moral Rights for the publications made accessible on this site are retained by the individual authors and/or other copyright owners. Please check the manuscript for details of any other licences that may have been applied and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. You may not engage in further distribution of the material for any profitmaking activities or any commercial gain. You may freely distribute both the url (http://uhra.herts.ac.uk/) and the content of this paper for research or private study, educational, or not-for-profit purposes without prior permission or charge. Take down policy If you believe that this document breaches copyright please contact us providing details, any such items will be temporarily removed from the repository pending investigation. Enquiries Please contact University of Hertfordshire Research & Scholarly Communications for any enquiries at [email protected] 1 ‘Put on Your Boots and Harrington!’: The ordinariness of 1970s UK punk dress Nathaniel Weiner, University of the Arts London Abstract In 2013, the Metropolitan Museum hosted an exhibition of punk-inspired fashion entitled Punk: Chaos to Couture. -
Alexander B. Stohler Modern American Hategroups: Lndoctrination Through Bigotry, Music, Yiolence & the Internet
Alexander B. Stohler Modern American Hategroups: lndoctrination Through Bigotry, Music, Yiolence & the Internet Alexander B. Stohler FacultyAdviser: Dr, Dennis Klein r'^dw May 13,2020 )ol, Masters of Arts in Holocaust & Genocide Studies Kean University In partialfulfillumt of the rcquirementfar the degee of Moster of A* Abstract: I focused my research on modern, American hate groups. I found some criteria for early- warning signs of antisemitic, bigoted and genocidal activities. I included a summary of neo-Nazi and white supremacy groups in modern American and then moved to a more specific focus on contemporary and prominent groups like Atomwaffen Division, the Proud Boys, the Vinlanders Social Club, the Base, Rise Against Movement, the Hammerskins, and other prominent antisemitic and hate-driven groups. Trends of hate-speech, acts of vandalism and acts of violence within the past fifty years were examined. Also, how law enforcement and the legal system has responded to these activities has been included as well. The different methods these groups use for indoctrination of younger generations has been an important aspect of my research: the consistent use of hate-rock and how hate-groups have co-opted punk and hardcore music to further their ideology. Live-music concerts and festivals surrounding these types of bands and how hate-groups have used music as a means to fund their more violent activities have been crucial components of my research as well. The use of other forms of music and the reactions of non-hate-based artists are also included. The use of the internet, social media and other digital means has also be a primary point of discussion.