BITCH N a T Io N Does Not Use This Word in the Negative Sense
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Dissertation
DISSERTATION Titel der Dissertation “We’re Punk as Fuck and Fuck like Punks:”* Queer-Feminist Counter-Cultures, Punk Music and the Anti-Social Turn in Queer Theory Verfasserin Mag.a Phil. Maria Katharina Wiedlack angestrebter akademischer Grad Doktorin der Philosophie (Dr. Phil.) Wien, Jänner 2013 Studienkennzahl lt. Studienblatt: A 092 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin / Betreuer: Univ. Prof.in Dr.in Astrid Fellner Earlier versions and parts of chapters One, Two, Three and Six have been published in the peer-reviewed online journal Transposition: the journal 3 (Musique et théorie queer) (2013), as well as in the anthologies Queering Paradigms III ed. by Liz Morrish and Kathleen O’Mara (2013); and Queering Paradigms II ed. by Mathew Ball and Burkard Scherer (2012); * The title “We’re punk as fuck and fuck like punks” is a line from the song Burn your Rainbow by the Canadian queer-feminist punk band the Skinjobs on their 2003 album with the same name (released by Agitprop Records). Content 1. Introduction .......................................................................................................... 1 2. “To Sir With Hate:” A Liminal History of Queer-Feminist Punk Rock ….………………………..…… 21 3. “We’re punk as fuck and fuck like punks:” Punk Rock, Queerness, and the Death Drive ………………………….………….. 69 4. “Challenge the System and Challenge Yourself:” Queer-Feminist Punk Rock’s Intersectional Politics and Anarchism……...……… 119 5. “There’s a Dyke in the Pit:” The Feminist Politics of Queer-Feminist Punk Rock……………..…………….. 157 6. “A Race Riot Did Happen!:” Queer Punks of Color Raising Their Voices ..……………..………… ………….. 207 7. “WE R LA FUCKEN RAZA SO DON’T EVEN FUCKEN DARE:” Anger, and the Politics of Jouissance ……….………………………….…………. -
Riot Dyke: Music, Identity, and Community in Lesbian Film
i Riot Dyke: Music, Identity, and Community in Lesbian Film by Alana Kornelsen 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, ON © 2016 Alana Kornelsen ii Abstract This thesis examines the use of diegetic pre-composed music in three American lesbian feature films. Numerous trends can be noted in the selection of music in lesbian film broadly— music is often selected to draw on insider knowledge of the target audience of these films, creating cachet. This cachet comes with accompanying “affiliating identifications” (Kassabian 2001) that allow music to be used in the films’ construction of characters’ identities. This is evident in the treatment of music in many lesbian films: characters frequently listen to, discuss, and perform music. This thesis focuses specifically on riot grrrl music and the closely linked genre of queercore (which together Halberstam ([2003] 2008) refers to as “riot dyke”) in three films that focus on the lives of young women: The Incredibly True Adventure of Two Girls in Love (dir. Maria Maggenti, 1995), All Over Me (dir. Alex Sichel, 1997), and Itty Bitty Titty Committee (dir. Jamie Babbit, 2007). By examining how diegetic riot dyke music is used in these three films to build characters’ identities and contribute to the films’ narratives I argue that in these films, riot dyke music is presented as being central to certain queer identities and communities, and that this music (as well as the community that often accompanies it) is portrayed as instigating or providing opportunities for characters’ personal growth and affirming characters’ identities in adverse environments. -
Zines and Minicomics Collection
http://oac.cdlib.org/findaid/ark:/13030/c85t3pmt No online items Guide to the Zines and Minicomics Collection Finding Aid Authors: Anna Culbertson and Adam Burkhart. © Copyright 2014 Special Collections & University Archives. All rights reserved. 2014-05-01 5500 Campanile Dr. MC 8050 San Diego, CA, 92182-8050 URL: http://library.sdsu.edu/scua Email: [email protected] Phone: 619-594-6791 Guide to the Zines and MS-0278 1 Minicomics Collection Guide to the Zines and Minicomics Collection 1985 Special Collections & University Archives Overview of the Collection Collection Title: Zines and Minicomics Collection Dates: 1985- Bulk Dates: 1995- Identification: MS-0278 Physical Description: 42.25 linear ft Language of Materials: EnglishSpanish;Castilian Repository: Special Collections & University Archives 5500 Campanile Dr. MC 8050 San Diego, CA, 92182-8050 URL: http://library.sdsu.edu/scua Email: [email protected] Phone: 619-594-6791 Access Terms This Collection is indexed under the following controlled access subject terms. Topical Term: American poetry--20th century Anarchism Comic books, strips, etc. Feminism Gender Music Politics Popular culture Riot grrrl movement Riot grrrl movement--Periodicals Self-care, Health Transgender people Women Young women Accruals: 2002-present Conditions Governing Use: The copyright interests in these materials have not been transferred to San Diego State University. Copyright resides with the creators of materials contained in the collection or their heirs. The nature of historical archival and manuscript collections is such that copyright status may be difficult or even impossible to determine. Requests for permission to publish must be submitted to the Head of Special Collections, San Diego State University, Library and Information Access. -
The Sounds of Queer Justice
The Queer Sounds of Justice: Contemporary Queer Musicking and Transformative Justice in The United States S.M. Gray Submitted in Partial Fulfillment of the Prerequisite for Honors in Peace and Justice Studies Program April 2012 © 2012, S.M. Gray Table of Contents Acknowledgements _____________________________________ i Introduction: Terminology, Process, and Construction of Narrative ___________________________________________ 1 1. Girlyman’s “Young James Dean”: A Tribute to the Pioneers of the Women’s Music movement__________________ 24 2. Positionality and Activism within Musicking: The Women’s Music movement of 1988__________________________35 3. From Ani DiFranco to Coyote Grace: A Queer and Feminist Blender of Politics, Gender, Genre, Sex, and Desire_______49 4. The Muses of Mustached ElectroLovers: Homos and Queer Punks, Angry Grrrl Feminists, and Lesbionic Dykes____________65 5. Contemporary Queer and Trans(Feminist) Musicking: Technology, Embodiment, Temporality, and Intersectionality__________91 Conclusion: Queer Musicking and A Broader Transformative Justice Framework______________________________117 Bibliography__________________________________________137 Acknowledgements I am so excited to finally be sharing my year-long endeavors with colleagues, friends, and family. It has been a long journey, and I am so grateful to all of you who have helped me along the way. Thank you so much to all of the musicians who have been so supportive through this process: the members of Girlyman, Coyote Grace, Katastrophe, Athens Boys Choir, Grygiel, The Shondes, Lovers, Des Ark, MC Micah, Kera Washington and Zili Musik, and Schmekel. I have been so inspired and supported by all of you through my research, and have learned so much from all of you. Thank you for sharing your sounds and stories with the world. I want to extend a huge thank you to Larry Rosenwald for his calming demeanor, quiet support, outgoing intellectualism, and laidback deadlines. -
Contemporary Queer Musicking and Transformative Justice in the United States
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Wellesley College Wellesley College Wellesley College Digital Scholarship and Archive Honors Thesis Collection 2012 The Queer Sounds of Justice: Contemporary Queer Musicking and Transformative Justice in The nitU ed States S. M. Gray Wellesley College, [email protected] Follow this and additional works at: https://repository.wellesley.edu/thesiscollection Recommended Citation Gray, S. M., "The Queer Sounds of Justice: Contemporary Queer Musicking and Transformative Justice in The nitU ed States" (2012). Honors Thesis Collection. 11. https://repository.wellesley.edu/thesiscollection/11 This Dissertation/Thesis is brought to you for free and open access by Wellesley College Digital Scholarship and Archive. It has been accepted for inclusion in Honors Thesis Collection by an authorized administrator of Wellesley College Digital Scholarship and Archive. For more information, please contact [email protected]. The Queer Sounds of Justice: Contemporary Queer Musicking and Transformative Justice in The United States S.M. Gray Submitted in Partial Fulfillment of the Prerequisite for Honors in Peace and Justice Studies Program April 2012 © 2012, S.M. Gray Table of Contents Acknowledgements _____________________________________ i Introduction: Terminology, Process, and Construction of Narrative ___________________________________________ 1 1. Girlyman’s “Young James Dean”: A Tribute to the Pioneers of the Women’s Music movement__________________ 24 2. Positionality and Activism within Musicking: The Women’s Music movement of 1988__________________________35 3. From Ani DiFranco to Coyote Grace: A Queer and Feminist Blender of Politics, Gender, Genre, Sex, and Desire_______49 4. The Muses of Mustached ElectroLovers: Homos and Queer Punks, Angry Grrrl Feminists, and Lesbionic Dykes____________65 5. -
Queer Youth and the Importance of Punk Rock
QUEERING PUNK: QUEER YOUTH AND THE IMPORTANCE OF PUNK ROCK DENISE SCOTT A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN INTERDISCIPLINARY STUDIES YORK UNIVERSITY TORONTO, ONTARIO DECEMBER 2011 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-90087-1 Our file Notre reference ISBN: 978-0-494-90087-1 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Transposition, 3 | 2013 "I Don’T Give a Shit Where I Spit My Phlegm" (Tribe 8)
Transposition Musique et Sciences Sociales 3 | 2013 Musique et théorie queer "I don’t give a shit where I spit my phlegm" (Tribe 8). Rejection and Anger in Queer-Feminist Punk Rock Maria Katharina Wiedlack Electronic version URL: http://journals.openedition.org/transposition/280 DOI: 10.4000/transposition.280 ISSN: 2110-6134 Publisher CRAL - Centre de recherche sur les arts et le langage Electronic reference Maria Katharina Wiedlack, « "I don’t give a shit where I spit my phlegm" (Tribe 8). Rejection and Anger in Queer-Feminist Punk Rock », Transposition [Online], 3 | 2013, Online since 01 March 2013, connection on 20 April 2019. URL : http://journals.openedition.org/transposition/280 ; DOI : 10.4000/ transposition.280 This text was automatically generated on 20 April 2019. La revue Transposition est mise à disposition selon les termes de la Licence Creative Commons Attribution - Partage dans les Mêmes Conditions 4.0 International. "I don’t give a shit where I spit my phlegm" (Tribe 8). Rejection and Anger i... 1 "I don’t give a shit where I spit my phlegm" (Tribe 8). Rejection and Anger in Queer-Feminist Punk Rock Maria Katharina Wiedlack 1 The statement and title for my article,1 "I don’t give a shit where I spit my phlegm", is part of the lyrics to the song "People Hate Me" by the band Tribe 8, which is – as will be explained later on – an excellent example of queer-feminist politics of a punk rock band. This article focuses on queer-feminist punk – also known as queercore, homocore or dykecore – music, its lyrics as well as performances and sound. -
Feminist DIY Practices in Punk and the “Sexual Turn” in Human Rights Lene Annette Karpp (Freie Universität Berlin, Germany)
FORUM FOR INTER-AMERICAN RESEARCH (FIAR) VOL. 12.2 (OCT. 2019) 15-36 ISSN: 1867-1519 © forum for inter-american research Queer (-/and) Feminist DIY Practices in Punk and the “Sexual Turn” in Human Rights LENE ANNETTE KARPP (FREIE UNIVERSITÄT BERLIN, GERMANY) Abstract This article addresses queer (-/and) feminist – i.e. queer, feminist and queer-feminist – Do-It-Yourself (DIY) practices as performed in punk since the 1970s, arguing that these practices helped to stimulate a “sexual turn” in human rights activism and discourse in the United States over the course of the subsequent decades. Punk opened up a new space for self-empowerment and self-expression in the 1970s when the sexual liberation movement of the previous decade started to lose its ground and, consequently, went partially back “underground.” It is argued here that punk – through its cultural DIY production and aesthetics as performed in music, performances, style and zines – created a counterpublic sphere allowing for an ongoing struggle for sexual rights led by (cis-)women and people with trans- and gender non-conforming identities. This took place in the context of the rise of neoconservative U.S. politics of the 1980s, which sought to repress those allegedly “amoral” rights claims. Influenced by both feminist and gay and lesbian movements, individuals expressed a plurality of complementary, overlapping and conflicting visions of sexuality and related rights. Against this backdrop, this article studies two “movements” in punk that were particularly interested in negotiating sexuality and gender identities: first, the queer- or homocore movement that began in the mid-1980s, and second, the feminist riot grrrl movement that emerged in the early 1990s. -
Copyright by Curran Jacob Nault 2013
Copyright by Curran Jacob Nault 2013 The Dissertation Committee for Curran Jacob Nault Certifies that this is the approved version of the following dissertation: QUEER AS PUNK: QUEERCORE AND THE PRODUCTION OF AN ANTI-NORMATIVE MEDIA SUBCULTURE Committee: Mary Celeste Kearney, Supervisor Ann Cvetkovich Jill Dolan Jennifer Fuller Janet Staiger QUEER AS PUNK: QUEERCORE AND THE PRODUCTION OF AN ANTI-NORMATIVE MEDIA SUBCULTURE by Curran Jacob Nault, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2013 Acknowledgements This is a dissertation that has been powered by love and faith: my love of queercore and my faith that, in spite of all obstacles, “This dissertation will be done and I will be a Ph.D., gosh-darn-it!” Even more importantly, this dissertation has been powered by the love and faith of others: the affectionate encouragement that I have received from the remarkable people in my life and their unconditional, and absolutely sustaining, belief in me. My research and sanity are forever indebted to the individuals mentioned below (as well as to many who I have undoubtedly neglected to mention). I thank them for their camaraderie, encouragement and generosity of spirit that has carried me through the dark days of dissertation writing and into the light on the other side. First and foremost I want to thank my mentor, teacher and friend, Mary Celeste Kearney. Her passionate enthusiasm for my project, insightful feedback and honest, heartfelt advice throughout this process has been invaluable.