The Guardian, July 22, 1992
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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. -
SOUNDGARDEN Superunknown (Hard Rock)
SOUNDGARDEN Superunknown (Hard Rock) Année de sortie : 1994 Nombre de pistes : 16 Durée : 70' Support : CD Provenance : Acheté Nous avons décidé de vous faire découvrir (ou re découvrir) les albums qui ont marqué une époque et qui nous paraissent importants pour comprendre l'évolution de notre style préféré. Nous traiterons de l'album en le réintégrant dans son contexte originel (anecdotes, etc.)... Une chronique qui se veut 100% "passionnée" et "nostalgique" et qui nous l'espérons, vous fera réagir par le biais des commentaires ! ...... Bon voyage ! Formé à Seattle, SOUNDGARDEN est généralement associé à la mouvance Grunge qui explose en 1991 avec NIRVANA et son album essentiel Nevermind. La musique du groupe emmené par le chanteur Chris CORNELL ne se résume toutefois pas à ce courant. Des similitudes peuvent être constatées, en premier lieu de par l’appartenance des deux formations à cette nouvelle scène de Seattle. Bruce PAVITT, fondateur du label Sub Pop, figure en effet parmi les amis du groupe, ce qui lui permet, avant NIRVANA, de devenir la première formation signée par l’incontournable officine Underground. Ensuite, la musique de SOUNDGARDEN est fréquemment caractérisée par la noirceur et la mélancolie. Cependant, Badmotorfinger, deuxième effort du groupe publié en 1991 par la compagnie nationale A & M, avec laquelle il vient de conclure un contrat avantageux, révèle des influences qui le rattachent davantage au Metal. L’album comporte de nombreuses compositions reposant sur des riffs plombés. Ainsi Jesus Christ Pose rappelle fortement LED ZEPPELIN, et le groupe paie sa dette à BLACK SABBATH sur le titre Slaves & Bulldozers. Après ce disque acclamé par la critique, SOUNDGARDEN connaîtra son apogée avec la sortie en 1994 de Superunknown, qui devient numéro un aux États-Unis avec trois millions d’exemplaires vendus. -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
Page 1I ·-916--Anrrla~Is~·Tr~8~~11~4~~
Vol. XVII No.8 The University's Late Night Feature Paper January 29, 1996 { Page 1I ·-916--anrRla~is~·tr~8~~11~4~~ 0STATET EMP lSSIREA I By Chris Sorochin ing, hockey-playing nuts are just similar enough to have previously done so. One CNN commentator us culturally to provide what Noam Chomsky calls on the Russian Duma elections was typically Well, its another New Year and the anniversary the "threat of a good example": they're what we Orwellian: "They've voted to reject democracy." of the January 1 rebellion of the Zapatistas in could be if we got our act together and that realiza- Figure that one out. I always thought democracy Chiapas, Mexico. Unwilling to see their centuries- tion might give folks here some funny ideas. was supposed to reflect the will of the people and old communal agrarian way of life destroyed so Wouldn't it be great if instead of Gingrich and the how they're governed and how their economy agribusiness could move in, and unwilling to rest of the Dickensian knaves shutting down the runs. I guess the "demo" must refer exclusively to become part of the impoverished masses of excess government to inflate their egos, the American the people on Wall St. and their equivalents in labor swelling the shantytowns of Mexico City, people got together and stopped the music, just to London, Tokyo and other financial centers. Mayan peasants supported the uprising, which let'em know we won't be trifled with? No, I don't think anybody wants to see the return began on the day NAFTA went into effect. -
Interview with Lush's Frontwoman Miki Berenyi
Interview with Lush's frontwoman Miki Berenyi musicophile97.blogspot.co.uk/2016/08/interview-with-lushs-frontwoman-miki.html It’s a regular Tuesday night in everything but the fact that I am currently sat opposite Miki Berenyi, the returned frontwoman of Lush. After nearly a 20-year break, the 90s favourite indie kids make their return. Much has changed for the band in the interim: Elastica’s Justin Welch replaces Chris Acland on drums after Acland committed suicide in 1996; Berenyi all but disappeared from the music scene to start a family and hold down a regular job. In spite of this, she remains the same at the core: she sips on white wine that she brought over, and intermittently takes a few drags on an e-cigarette. When she speaks of how it feels to be back, Berenyi says it’s ‘really quite odd actually […] I was losing sleep about having agreed to do this. I suddenly thought, “fuck, I haven’t played in twenty years, this is going to be a disaster.” And actually, it was really good to just go into the studio and sing and play guitar and think, “ok, I can still do this!”’ In spite of having been out of the game for so long, there is a clear sense of anticipation to play live again [I spoke to Berenyi before Lush’s headline shows at the Roundhouse]. ‘It’s a bit weird cos we haven’t played yet […] I went on the radio and they were like “ooh so how’s it going?” and all I can really talk about is rehearsals. -
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Case 2:21-cv-04806-RSWL-SK Document 1 Filed 06/14/21 Page 1 of 12 Page ID #:1 1 COHEN MUSIC LAW 2 Evan S. Cohen (SBN 119601) [email protected] 3 1180 South Beverly Drive. Suite 510 4 Los Angeles, CA 90035-1157 (310) 556-9800 5 6 BYRNES HIRSCH P.C. 7 Bridget B. HirsCh (SBN 257015) [email protected] 8 2272 Colorado Blvd., #1152 9 Los Angeles, CA 90041 (323) 387-3413 10 11 Attorneys for Plaintiffs 12 13 UNITED STATES DISTRICT COURT 14 CENTRAL DISTRICT OF CALIFORNIA 15 16 WESTERN DIVISION 17 18 JAMES REID, an individual, and Case No.: 2:21-cv-04806 WILLIAM REID, an individual, both 19 doing business as The Jesus and Mary 20 Chain, COMPLAINT FOR COPYRIGHT INFRINGMENT AND 21 Plaintiffs, DECLARATORY RELIEF 22 v. JURY TRIAL DEMANDED 23 WARNER MUSIC GROUP CORP., a 24 Delaware Corporation; and DOES 1 through 10, inClusive, 25 26 Defendants. 27 28 COMPLAINT FOR COPYRIGHT INFRINGEMENT AND DECLARATORY RELIEF - 1 - Case 2:21-cv-04806-RSWL-SK Document 1 Filed 06/14/21 Page 2 of 12 Page ID #:2 1 Plaintiffs JAMES REID and WILLIAM REID allege as follows: 2 3 I 4 NATURE OF THE ACTION 5 1. This is an aCtion brought by James Reid and William Reid, two of the 6 founding members of the successful and critically acclaimed alternative musical 7 group The Jesus and Mary Chain (“JAMC”), formed in their native Scotland in 1983, 8 along with Douglas Hart (“Hart”), against Warner Music Group Corp. (“WMG”), the 9 third-largest reCord company conglomerate in the world, for willful copyright 10 infringement and deClaratory relief. -
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From Reluctance to Reunion Interview | Under the Radar
Lush: From Reluctance to Reunion Interview | Under the Radar undertheradarmag.com /interviews/lush/ Lush From Reluctance to Reunion Jul 01, 2016 By Frank Valish Photography by James Loveday Issue # 57 - M83 Back in 2014, when Lush's Miki Berenyi and Emma Anderson spoke with Under the Radar about the band's seminal albums Split and Lovelife, the idea of getting the band back together was something of a pipe dream. The London outfit, which formed out of friendship in the late '80s, rode a wave of shoegaze and Britpop to success in the decade that followed. But after disbanding in the wake of the suicide of founding drummer Chris Acland in 1996, Berenyi and Anderson moved on—they had children and got day jobs. Other than Anderson's stint in Sing-Sing in the late '90s and early '00s, they had been out of music completely. "It's so difficult," said Berenyi at the time. "There's part of me that thinks that it would be nice or it would be fun. I don't know. I feel very confused about the issue, if I'm honest. I don't play music. I'm not in a band. I haven't been 1/3 since Lush. The actual logistics of getting it together are pretty phenomenal. It scares me a bit." For Anderson, a single mother who found herself moving around a bit in the years prior, the demands of life made reformation tricky: "Having a young child is very, very time-consuming and exhausting and there's not a lot of brain space for anything else right now," she said at the time. -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Heavy Metal (These are excerpts from my book "A History of Rock and Dance Music") The pioneers 1976-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Heavy-metal in the 1970s was Blue Oyster Cult, Aerosmith, Kiss, AC/DC, Journey, Boston, Rush, and it was the most theatrical and brutal of rock genres. It was not easy to reconcile this genre with the anti-heroic ethos of the punk era. It could have seemed almost impossible to revive that genre, that was slowly dying, in an era that valued the exact opposite of machoism, and that was producing a louder and noisier genre, hardcore. Instead, heavy metal began its renaissance in the same years of the new wave, capitalizing on the same phenomenon of independent labels. Credit goes largely to a British contingent of bands, that realized how they could launch a "new wave of British heavy metal" during the new wave of rock music. Motorhead (1), formed by ex-Hawkwind bassist Ian "Lemmy" Kilminster, were the natural bridge between heavy metal, Stooges/MC5 and punk-rock. They played demonic, relentless rock'n'roll at supersonic speed: Iron Horse (1977), Metropolis (1979), Bomber (1979), Jailbait (1980), Iron Fist (1982), etc. -
Les Archives Du Sombre Et De L'expérimental
Guts Of Darkness Les archives du sombre et de l'expérimental avril 2006 Vous pouvez retrouvez nos chroniques et nos articles sur www.gutsofdarkness.com © 2000 - 2008 Un sommaire de ce document est disponible à la fin. Page 2/249 Les chroniques Page 3/249 ENSLAVED : Frost Chronique réalisée par Iormungand Thrazar Premier album du groupe norvégien chz le label français Osmose Productions, ce "Frost" fait suite au début du groupe avec "Vikingligr Veldi". Il s'agit de mon album favori d'Enslaved suivi de près par "Eld", on ressent une envie et une virulence incroyables dans cette oeuvre. Enslaved pratique un black metal rageur et inspiré, globalement plus violent et ténébreux que sur "Eld". Il n'y a rien à jeter sur cet album, aucune piste de remplissage. On commence après une intro aux claviers avec un "Loke" ravageur et un "Fenris" magnifique avec son riff à la Satyricon et son break ultra mélodique. Enslaved impose sa patte dès 1994, avec la très bonne performance de Trym Torson à la batterie sur cet album, qui s'en ira rejoindre Emperor par la suite. "Svarte vidder" est un grand morceau doté d'une intro symphonique, le développement est excellent, 9 minutes de bonheur musical et auditif. "Yggdrasill" se pose en interlude de ce disque, un titre calme avec voix grave, guimbarde, choeurs et l'utilisation d'une basse fretless jouée par Eirik "Pytten", le producteur de l'album: un intemrède magnifique et judicieux car l'album gagne en aération. Le disque enchaîne sur un "Jotu249lod" destructeur et un Gylfaginning" accrocheur. -
Capitalist Realism As Dreamwork and Memory Disorder 54
Mark Fisher is a writer, theorist and teacher. His writing regularly appears in frieze, New Statesman, The Wire and Sight & Sound. He was a founding member of the Cybernetic Culture Research Unit. He is now a Visiting Fellow in the Centre for Cultural Studies at Goldsmiths, University of London and a tutor in Philosophy at the City Literary Institute, London. His weblog can be found at http://k-punk.abstractdynamics.org. He is married and lives in Suffolk. To my wife, Zoe, my parents, Bob and Linda, and the readers of my website 1: It's easier to imagine the end of the world than the end of capitalism 1 2: What if you held a protest and everyone came? 12 3: Capitalism and the Real 16 4: Reflexive impotence, immobilization and liberal communism 21 5: October 6, 1979: 'Don't let yourself get attached to anything' 31 6: All that is solid melts into PR: market Stalinism and bureaucratic anti-production 39 7: '...if you can watch the overlap of one reality with another': capitalist realism as dreamwork and memory disorder 54 8: 'There's no central exchange' 62 9: Marxist Supernanny 71 It's easier to imagine the end of the world than the end of capitalism In one of the key scenes in Alfonso Cuaron's 2006 film Children of Men, Clive Owen's character, Theo, visits a friend at Battersea Power Station, which is now some combination of government building and private collection. Cultural treasures - Michelangelo's David, Picasso's Guernica, Pink Floyd's inflatable pig - are preserved in a building that is itself a refurbished heritage artifact.