This Interview with Jeff Williams Was Conducted Via E-Mail, AUG 25Th 2000.It Originally Appeared in the Book for the 217 Represent Compilation
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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. -
American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world. -
Never Mind the Sex Pistols, Here╎s CBGB the Role of Locality and DIY
Vassar College Digital Window @ Vassar Senior Capstone Projects 2020 Never mind the sex pistols, here’s CBGB the role of locality and DIY media in forming the New York punk scene Ariana Bowe Vassar College Follow this and additional works at: https://digitalwindow.vassar.edu/senior_capstone Recommended Citation Bowe, Ariana, "Never mind the sex pistols, here’s CBGB the role of locality and DIY media in forming the New York punk scene" (2020). Senior Capstone Projects. 1052. https://digitalwindow.vassar.edu/senior_capstone/1052 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Bowe 1 Vassar College Never Mind The Sex Pistols, Here’s CBGB The Role of Locality and DIY Media in Forming the New York Punk Scene A thesis submitted in partial satisfaction of the requirements for the degree Bachelor of Arts in Media Studies. By Ariana Bowe Thesis Advisers: Professor Justin Patch May 2020 Bowe 2 Project Statement In my project, I will explore the New York City venue CBGB as one of the catalysts behind the rise of punk subculture in the 1970s. In a broader sense, I argue that punk is defined by a specific local space that facilitated a network of people (the subculture’s community), the concepts of DIY and bricolage, and zines. Within New York City, the locality of the punk subculture, ideas and materials were communicated via a DIY micro-medium called zines. -
Peace Punks and Punks Against Racism: Resource Mobilization and Frame Construction in the Punk Movement
Music and Arts in Action | Volume 2 | Issue 1 PEACE PUNKS AND PUNKS AGAINST RACISM: RESOURCE MOBILIZATION AND FRAME CONSTRUCTION IN THE PUNK MOVEMENT MIKE ROBERTS & RYAN MOORE Department of Sociology | San Diego State University | USA* Department of Sociology | Florida Atlantic University | USA ABSTRACT In recent years, scholars have begun to attend to the gap in our understanding of the relationship between music and social movements. One such example is Corte’s and Edwards’ “White Power Music and the Mobilization of Racist Social Movements.” Our research shares the perspective of Corte and Edwards (2008) which emphasizes the centrality of music to social movement organizations, especially in terms of resource mobilization, but rather than look at how punk music was used as an instrument by an external social movement like the White Power movement, we look at how punks themselves joined social movements and altered the dynamics of the movements they joined. We also provide examples of punk involvement in left wing social movements to emphasize the indeterminate nature of punk politics. We examine two such cases: the Rock Against Racism movement in the U.K., and the Peace movement in the U.S. In both cases, punks made use of their independent media as a means to provide an infrastructure for mobilization of resources to sustain the punks’ involvement in these social movements and the unique framing provided by punks, which altered the dynamic of the movements they joined. What makes punk an interesting case is that the “do-it-yourself” ethic of independent media construction that was at the centre of the punk movement made it possible for punks to make connections to various other social movements as well as alter the dynamics of those social movements. -
Dead Boys Resurrected One Last Time on New DVD
Dead Boys Resurrected One Last Time on New DVD http://www.harpmagazine.com/news/detail.cfm?article=12147 Search News submit Today's News News Archives Recent News Costello To Release 2-CD Deluxe Edition Check out the of This Year’s Model December 2007 issue Jan 17 Advertisements Ray Davies Gets Deluxe Treatment on New Album Jan 17 Marah Implodes, Cancels Tour Jan 17 Must-HARP TV: Thursday Jan 17 Decemberists’ Meloy Drops Solo Album Jan 16 ZZ Top Shows Some “Legs” Again w/Expanded Eliminator Reissue Jan 16 Radiohead Live Webcast From Rough Trade at 3pm ARTICLES Email this page Jan 16 NEWS Print this page More Article Sections Features Dead Boys Resurrected Departments One Last Time on New Columns DVD Fred Mills January 15, 2008 You don’t have to be an old school punk devotee to get a visceral thrill whenever the name “Dead Boys” is uttered. The Noo-Yawk-by-way-of-Clevo quintet—Stiv Bators, Cheetah Chrome, Jimmy Zero, Jeff Magnum and Johnny Blitz—were among the pre-eminent first generation of American punk bands back in the last ‘70s, with their Sire Records debut Young Lound and Snotty remaining one of the classic all time punk platters. HARP caught the band on their 10th anniversary reunion in 1985 and can testify to the still-potent Dead Boys assault around this time. Just say “Sonic 1 of 2 1/17/2008 1:42 PM Dead Boys Resurrected One Last Time on New DVD http://www.harpmagazine.com/news/detail.cfm?article=12147 Reducer,” baby! Now from MVD Visual comes a 50-minute Dead Boys DVD, Return of the Living Dead Boys: Halloween Night 1986, a document of the band’s 1986 Halloween night (duh) performance at NYC’s Ritz club. -
Swissted 4/3/13 11:41 PM
swissted 4/3/13 11:41 PM swissted swissted is an ongoing project by graphic designer mike joyce, owner of stereotype design in new york city. drawing from his love of punk rock and swiss modernism, two movements that have (almost) nothing to do with one another, mike has redesigned vintage punk, hardcore, new wave, and indie rock show flyers into international typographic style posters. each design is set in lowercase berthold akzidenz-grotesk medium (not helvetica). every single one of these shows actually happened.the swissted book is finally out from quirk books—get it here! http://www.swissted.com/ Page 1 of 135 swissted 4/3/13 11:41 PM http://www.swissted.com/ Page 2 of 135 swissted 4/3/13 11:41 PM ramones at the palladium, 1978 http://www.swissted.com/ Page 3 of 135 swissted 4/3/13 11:41 PM descendents at fender’s, 1987 agent orange at goodies, 1987 http://www.swissted.com/ Page 4 of 135 swissted 4/3/13 11:41 PM jawbreaker at irving plaza, 1995 patti smith at max’s kansas city, 1974 http://www.swissted.com/ Page 5 of 135 swissted 4/3/13 11:41 PM refused at the p.w.a.c., 1996 t.s.o.l. and others at fender’s, 1986 http://www.swissted.com/ Page 6 of 135 swissted 4/3/13 11:41 PM misfits at gildersleeves, 1983 lush at the fillmore, 1994 http://www.swissted.com/ Page 7 of 135 swissted 4/3/13 11:41 PM yo la tengo at cbgb, 1993 rollins band at the outhouse, 1990 http://www.swissted.com/ Page 8 of 135 swissted 4/3/13 11:41 PM david bowie at cleveland music hall, 1972 meat puppets at the roxy theatre, 1986 http://www.swissted.com/ Page 9 of 135 swissted 4/3/13 11:41 PM built to spill at fox theatre, 1997 modest mouse at speak in tongues, 1996 http://www.swissted.com/ Page 10 of 135 swissted 4/3/13 11:41 PM nick cave & the bad seeds at fillmore / 1989 the velvet underground at max’s k.c. -
Warning: Lpis Ominous
thursday, august 31, 1978 ad lib page 3 sacred in Nothing is band Warning: LP ominous Naming punk By Jeff Taebel Thinking of starting a punk rock band? Looking for a ventured Dirt late- suitable name? All you need to remember is that nothing If you've into Cheap look- is too bizzare or obscene for your band, as long as you are ly, you may have noticed an ominous willing to live up to your name. But be careful, the follow- ing album by a group. The Crap Detectors names have entitled Victims The Media. ing already been claimed by currently per-- Of iorming punx oanas: Upon further inspection, you might Squeeze Richard Hell & the Voidoids have seen that the album jacket contained The Lurkers The Electric Chairs several cautionary messages, such as "Warn-ing-Thi- s Trash Storm Trooper record can be harmful and Just Water Johnny and the Self hazardous to close-minde- d or rationalizing The Vibrators Abusers beings, if you fit into a behavioral pattern, Advertising Flash and the Pan we urge you to put this record down and Eddie & the Hot Rods The Invaders go to the nextstack," and "Caution: De- Twinkeys The Visitors programming may occur." The Viletones Harry Toldeo & the Rockets At this point, you may have begun to Wrackless Eric Eaters suspect that this is an album by local tale'nt Chain Gang The Damned talent, and you would have been right. The The Mutants Warm Gun Crap Detectors are, in essence, Jim Jacobi The Young Mutations Maniacs of Lincoln who wrote the album's fourteen as well as lead and The Clash Asphalt Jungle songs singing playing The Suburban Studs Hot Lunch guitar, bass and synthesized special effects The with some help from Herbie Hill on drums. -
Punk · Film RARE PERIODICALS RARE
We specialize in RARE JOURNALS, PERIODICALS and MAGAZINES Please ask for our Catalogues and come to visit us at: rare PERIODIcAlS http://antiq.benjamins.com music · pop · beat · PUNk · fIlM RARE PERIODICALS Search from our Website for Unusual, Rare, Obscure - complete sets and special issues of journals, in the best possible condition. Avant Garde Art Documentation Concrete Art Fluxus Visual Poetry Small Press Publications Little Magazines Artist Periodicals De-Luxe editions CAT. Beat Periodicals 296 Underground and Counterculture and much more Catalogue No. 296 (2016) JOHN BENJAMINS ANTIQUARIAT Visiting address: Klaprozenweg 75G · 1033 NN Amsterdam · The Netherlands Postal address: P.O. BOX 36224 · 1020 ME Amsterdam · The Netherlands tel +31 20 630 4747 · fax +31 20 673 9773 · [email protected] JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM cat.296.cover.indd 1 05/10/2016 12:39:06 antiquarian PERIODIcAlS MUSIC · POP · BEAT · PUNK · FILM Cover illustrations: DOWN BEAT ROLLING STONE [#19111] page 13 [#18885] page 62 BOSTON ROCK FLIPSIDE [#18939] page 7 [#18941] page 18 MAXIMUM ROCKNROLL HEAVEN [#16254] page 36 [#18606] page 24 Conditions of sale see inside back-cover Catalogue No. 296 (2016) JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM 111111111111111 [#18466] DE L’AME POUR L’AME. The Patti Smith Fan Club Journal Numbers 5 and 6 (out of 8 published). October 1977 [With Related Ephemera]. - July 1978. [Richmond Center, WI]: (The Patti Smith Fan Club), (1978). Both first editions. 4to., 28x21,5 cm. side-stapled wraps. Photo-offset duplicated. Both fine, in original mailing envelopes (both opened a bit rough but otherwise good condition). EUR 1,200.00 Fanzine published in Wisconsin by Nanalee Berry with help from Patti’s mom Beverly. -
Punks Don't Know Jack
Punks Don’t Know Jack This split CD from Cretin Records comes out of the gates with no holds barred punk rock. Defecation Area open the CD swinging with “Generation D.U.M.B.,” which while essentially generic 77’s punk does sound big. They remind me a little of ’90s NYC punks L.E.S. Stitches, who were one damn good band. The most off-putting thing to me about this track is that I’m really sick of punk rockers singing about how everything is dumb. They’re dumb or everyone else but them is dumb. Either way, songs about being dumb are stupid. I know, The Ramones did it with “Pinhead,” but guess what….you are not The Ramones. Defecation Area definitely hit big on the scorching “Slam Dance is Savage” and channel the Beach Boys via Social Distortion on “She Just Wanna Dance.” Defecation Area may mine ground that has been well traveled from the Dead Boys and 2 billion bands since, but they do it better than most! It’s good to see some studio recording finally making their way out for Tony Jones and The Cretin 3. They kick off their half of the disc with “Lady Frankenstein,” which has a strong Cramps undertone. The Cretin 3 essentially merge rockabilly and punk together and sprinkle some horror rock sensibility lyrically. “Bathroom Floor” really isn’t my bag. It doesn’t really rock and is too repetitive and the vocals kind of give me a migraine. Better is “Leather,” which borrows the guitar riff from Cheap Trick’s “He’s a Whore” and uses it to create a catching little ditty. -
Philadelphia Punk Gigography 1977-1987
Philadelphia Punk Gigography 1977-1987 1966 December 10 – Velvet Underground @ YMHA Auditorium December 11 – Velvet Underground @ YMHA Auditorium 1967 July 19 – Velvet Underground @ The Trauma July 20 – Velvet Underground @ The Trauma July 21 – Velvet Underground @ The Trauma July 22 – Velvet Underground @ The Trauma July 26 – Velvet Underground @ The Trauma July 27 – Velvet Underground @ The Trauma July 28 – Velvet Underground @ The Trauma July 29 – Velvet Underground @ The Trauma 1968 March 15 – Velvet Underground @ The Trauma March 16 – Velvet Underground @ The Trauma March 17 – Velvet Underground @ The Trauma May 1 – Blue Cheer @ Electric Factory May 2 – Blue Cheer @ Electric Factory May 3 – Blue Cheer @ Electric Factory September 20 – Velvet Underground @ Electric Factory September 21 – Velvet Underground @ Electric Factory 1969 May 9 – MC5 @ Mitten Hall, Temple University June 27 – Velvet Underground @ Electric Factory June 28 – Velvet Underground @ Electric Factory August 1 - Velvet Underground @ Electric Factory August 27 – Velvet Underground @ Second Fret August 28 – Velvet Underground @ Second Fret August 29 – Velvet Underground @ Second Fret August 30 – Velvet Underground @ Second Fret September 19 – Stooges @ Electric Factory September 20 – Stooges @ Electric Factory September 26 – MC5 @ Electric Factory September 27 – MC5 @ Electric Factory October 8 – Velvet Underground @ Second Fret October 9 – Velvet Underground @ Second Fret October 10 – Velvet Underground @ Second Fret October 11 – Velvet Underground @ Second Fret December -
The Top of the Poppers Sing and Play Punk
Title The Top of the Poppers sing and play punk Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/14980/ Dat e 2 0 1 9 Citation Bestley, Russ (2019) The Top of the Poppers sing and play punk. Punk & Post Punk, 8 (3). pp. 399-421. ISSN 2044 1 9 8 3 Cr e a to rs Bestley, Russ Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author The Top of the Poppers sing and play punk Russ Bestley, London College of Communication By the mid-1970s, the music industry had a long history of accommodating and recuperating teenage rebellion, and punk’s defiant message of radical change also offered new opportunities for commercial enterprise. A rush to sign new bands who could be (broadly) associated with punk, and the concomitant shift toward ‘new wave’ styles, led to a degree of UK chart success for a number of groups. The inclusion of punk and new wave songs on a series of low-budget compilations featuring cover versions of contemporary hits strikes a particularly discordant tone with punk’s self-styled image of a break with traditional music industry conventions. The albums released on the longstanding budget compilation series Top of the Pops between mid-1977 and early 1982 tell an interesting story about the cultural recuperation of punk, new wave and post-punk, and ask questions, perhaps, about the legitimacy of punk’s often mythologised ‘outsider status’.