Кошмай Світлана Миколаївна, Вчитель Англійської Мови Черкаської ЗОШ № 7 Youth Subcultures
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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. -
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. -
May 2009 Volume 9, Issue 2 BORED STIFF Are A
x Volume 9, Issue 2 May 2009 D: We were arguing about band names for a long time. A lot of them were BLACK FLAG song titles. An: Yeah, my good one was TOTAL TRASH but it’s too close to TRASH TALK. W: I think the rest of these guys had the name BORED STIFF a long time ago, it was mentioned and I sorta brought it back. An: It’s what D’Arcy wanted to call the old band. A: We had no choice. D: Yeah, the other band. We sorta had the name before and it just sorta stuck, but for no particular reason. No story, it just sounds badass. Yeah it’s a good name. W: Why, thank you. An: It’s pretty awesome. So who do you consider influences on the band? An: A lot of 80’s hardcore. W: I’m pretty into money, but I think I made that joke before when he was here for the MOLESTED YOUTH interview. Yeah you did, it’s old, retire it. BORED STIFF are a new local band that I was An: Those dreams where you feel like you’re introduced to through MOLESTED YOUTH. falling...those are a pretty big influence. My first impression is that they remind me of D: If you’re talking about musical influences I SSD in that they are trying to sound heavy think its a lot of later 80’s stuff from New York without sounding metal. The difference between City and a lot of current California stuff like BORED STIFF and Boston’s original jock TRASH TALK and CEREMONY. -
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. -
Issue 3 April 2006
X Volume 6, Issue 3 April 2006 to suck. Or you don’t rock. We get that all the time. “Oh you guys were way better than I thought you were going to be”. Well, why ? Because we have breasts. I wanted to ask you about the name PANTYCHRIST. Where did that come from and what is the significance of the name ? Did it come in anyway from the band CONDO-CHRIST because there was a band from London called CONDO-CHRIST ? P: No. We didn’t even know that. D: CONDOM CHRIST ? No CONDO-CHRIST. P: This guy from another band had been watching us jam and we were tossing around names and we couldn’t come up with anything and he named us. We didn’t even know but there is another PANTY CHRIST. Some cross- dressing Japanese sampling guy who e-mailed us and said “Cool, use my name”. That’s okay. So that was cool. That is good. D: It’s because Izabelle looks really good in underwear. When we first started playing she PANTYCHRIST (FROM LEFT TO RIGHT): Amy with her back to us, Danyell on vocals, and Izabelle used to wear her underwear on stage. It was on guitar. Bob the Builder underwear. A couple of times in a row. You must have had those on for a PANTYCHRIST are a 4-piece punk band from while. No just joking (laughter). the steel capital of Canada. At the time of this What is the scene like in Hamilton ? From interview the band had released an 8-song our perspective it seems like a pretty thriving demo, a self-released ep, and were about to scene. -
Paranoize Zine
Paranoize is a non-profit independent 4-5-19 publication based in New Orleans, I’ve been publishing ‘zines for 30 years Louisiana covering metal, punk, hardcore, now! Before Paranoize, there was sludge, doom, stoner rock and pretty Thrashcore! My friend Weldon (who did a much anything loud and noisy. ‘zine in San Antonio, TX called Frontline) inspired me to do a ‘zine, when I was Bands/labels are encouraged to send their telling him that it sucked that there were no music in to review, but if we don’t like it, ‘zines around New Orleans anymore, and you can bet that we’ll make fun of you. he said “well start one!”. So my friend Brian and I, teenagers with NO clue of what the Advertisements and donations are what hell we were doing, wrote to a ton of bands keep this publication FREE. Go to www.paranoizenola.com or email an sent interview questions along with our [email protected] to find out correspondence, typed up the replies, laid it how to donate or advertise. out and ran off 100 copies of our ‘zine that we decided to call Thrashcore (because to a You may send all comments, questions, 16 year old in 1989, that sounded letters, music for review (vinyl, cassette, AWESOME) and sold them at a Cro-Mags/ cd), ‘zines for trade, money, various Destruction/Aftershock/Mad Dog show in household items, etc. to: May of 1989. We put out 3 more issues over Paranoize the years before I went out on my own with P.O. -
Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project. -
Headbanging in Dhaka: an Exploration of the Bangladeshi
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Headbanging in Dhaka: An exploration of the Bangladeshi Alternative Music Scene Shams Bin Quader A thesis submitted in fulfillment of the requirements for the degree of Master of Philosophy Department of Gender and Cultural Studies, School of Philosophical and Historical Inquiry, Faculty of Arts and Social Sciences December, 2013 Table of Contents Acknowledgements ................................................................................................................................. 3 Abstract ................................................................................................................................................... 4 Introduction: Musical Youth Cultures and the Alternative Music scene of Bangladesh ....................... -
Grindcore – Eine ›Extreme‹ Mutation Des Metals? Zur Diskursivierung Des Grindcore 2012
Repositorium für die Medienwissenschaft Andreas Salmhofer Grindcore – eine ›extreme‹ Mutation des Metals? Zur Diskursivierung des Grindcore 2012 https://doi.org/10.25969/mediarep/3767 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Salmhofer, Andreas: Grindcore – eine ›extreme‹ Mutation des Metals? Zur Diskursivierung des Grindcore. In: Rolf F. Nohr, Herbert Schwaab (Hg.): Metal Matters. Heavy Metal als Kultur und Welt. Münster: LIT 2012 (Medien'Welten 16), S. 207–224. DOI: https://doi.org/10.25969/mediarep/3767. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Weitergabe unter Attribution - Non Commercial - Share Alike 3.0/ License. For more gleichen Bedingungen 3.0/ Lizenz zur Verfügung gestellt. Nähere information see: Auskünfte zu dieser Lizenz finden Sie hier: https://creativecommons.org/licenses/by-nc-sa/3.0/ https://creativecommons.org/licenses/by-nc-sa/3.0/ 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. -
Boomtown Announce Punk Metal and Ska Line-Up for Diss-Order Alley
MATTERLEY ESTATE – WINCHESTER 7TH – 11TH AUGUST 2019 TICKETS ON SALE NOW Boomtownfair.co.uk BOOMTOWN ANNOUNCE PUNK METAL AND SKA LINE-UP FOR DISS-ORDER ALLEY PROPHETS OF RAGE / SLAVES / GOGOL BORDELLO / KILLING JOKE / THERAPY? / ATARI TEENAGE RIOT / NEVILLE STAPLE BAND / ASIAN DUB FOUNDATION / PENNYWISE / LEFTOVER CRACK / KING PRAWN / SUBHUMANS / NAPALM DEATH / AT THE GATES / GODFLESH / CANCER BATS / CROSSFAITH ABRASKADABRA / DEATH OF GUITAR POP / SHANTI POWA Following an epic headliners release, Boomtown launch the third of their twelve individual district line-ups with the ska, punk and metal offerings of Diss-Order Alley. This will sit alongside a truly eclectic mix of already announced headliners on the Town Centre stage including rock-rap supergroup Prophets of Rage, Slaves, Gogol Bordello, Killing Joke, Therapy?, Atari Teenage Riot and two-tone legend Neville Staple Band. Boomtown’s diverse line-up fuses with innovative theatre and incredible immersive set design to create a living, breathing fictitious city. As part of this city, Diss-order Alley returns after a memorable inaugural year in the guise of an abandoned military base overrun with an autonomous community of punks. There are four venues, where Boomtown’s long standing ska punk and metal community are treated to a mix of genres and artists from definitive figures in the scene to boundary pushing sounds from the underground. Last Gang in Town present the flagship punk venue Hangar 161, which is in the form of a full scale aircraft hangar and is headlined by American punk rock icons, the politically minded Pennywise who are now in their 30th year. -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Rasquache Or Die
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Rasquache or Die!: Chican@/Latin@ Punks Presente! A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Chicana and Chicano Studies, By Emma Cordova August 2015 The thesis of Emma Cordova is approved: ___________________________________ ______________ Dr. Christina Ayala- Alcantar Date ___________________________________ _____________ Dr. Peter Garcia Date ___________________________________ _____________ Dr. Denise Sandoval, Chair Date California State University, Northridge ii Table of Contents Signature Page ii Acknowledgments iii Abstract iv Chapter 1: Introduction 1 Chapter 2: Literature Review 23 Chapter 3: This Is El Lay: Loquera, Consciousness, and Survival 51 Forming: Getting into the Chican@/Latin@ punk scene 52 Para Las Chicas Rockeras: Mujeres (Re)Claiming Space in Punk 59 Out of the closet and into the pit 73 Rasquache or Die: Chican@/ Latin@ Punks Creating Consciousness and Alternatives 82 What Happens Next?: Community Building and Scene Preservation 95 Conclusion: Desde Afuera: Closing Thoughts and Reflections 111 Works Cited 120 iii Acknowledgments I will forever be indebted to the people who participated in the interview process and who were willing to share their stories with me. I hope that the readers will find your voices as inspiring as I found them. I am immensely grateful for your words and your willingness to trust me with them. I would also like to thank my family. Though my ma may never fully comprehend what this project means she has always stood beside me and respected my decisions. To my brother who over ten years ago took me to my first show, showed me the unstated rules of the pit, who has let me grow into my own person, thank you for all your lessons. -
Slug and Lettuce: a Zine Supporting the Do-It- Yourself Ethics of the Punk Community Christine Larson
Rhode Island College Digital Commons @ RIC AS220 Digital Archive 6-1-2003 Slug and Lettuce: A Zine Supporting the Do-It- Yourself Ethics of the Punk Community Christine Larson Follow this and additional works at: https://digitalcommons.ric.edu/as220_root Part of the Arts and Humanities Commons Recommended Citation Larson, Christine, "Slug and Lettuce: A Zine Supporting the Do-It-Yourself Ethics of the Punk Community" (2003). AS220 Digital Archive. 1625. https://digitalcommons.ric.edu/as220_root/1625 This is brought to you for free and open access by Digital Commons @ RIC. It has been accepted for inclusion in AS220 Digital Archive by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. , ' ' ' . ' SIC , 'ZINE & BOOK REVIEWS • CLASSIFIEDS • COLUMNS • PHOTOCiRAPHY • PUNK ART out ot the crty Being an eco punk and all, tuned into nature and the seasons, and to thinking back on old SOME 'IHOUQITS FROM THE EDITOR them, or intrmidated because we are atraid they won't know who we sens~ive to thrngs around me, I got to talkrng wrth my mom about the kind of people revie ws I did, an d tee ling This all go, no sleep routine rs starting to take rt's toll. You can only push for so long before are, or care, or because we enjoythe~rwriting or music, but face it, the yourse~ we are. She's super into birds and dreams at flying I'm territied ot heights and cringe like they just were not you start to crash But that rsn't stopping me yet This issue has been put together in a frenzy of beauty at punk rock is that we are all supposed to be standing on the at the thought at being oul in the open high spaces.