Mundo Subnormal. Programa Especial Punk En Los 90
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Maquette Park It Up.Qxd
RIOT GRRRL IS NOT DEAD... Phrase choc pour un premier zine qui ne fera certainement pas l’unanimité… Mouvement culturel « éphémère » sans avenir selon les médias de l’époque, mais dont l’influence et l’inspiration sont toujours d’actualité dans ce milieu majoritairement masculin. A force de réflexion, de discussions mais surtout de frustrations et d’agace- ment ; d’a priori, de préjugés ainsi que de pseudo concurrents au titre de meilleur militant anti-sexiste de l’an- née, ce zine aura vu le jour. Mon objectif : vous faire entrer, toutes et tous, un peu dans ce monde obscur appelé communément « riot grrrl », culturellement riche, provocateur néanmoins, existant de par la solidarité qui l’anime. Ouvrir la porte sur la vie de toutes ces filles de la contre culture qui se battent au jour le jour pour elles aussi faire leur place, mettre en lumière leur travail et mettre en mots tout le reste. « Park it up your arse » inspiré de la chanson des Headcoatees du même nom, qui se traduit littéralement signifie « gare le dans ton cul ». D’une pierre deux coups, c’est ma réponse à ceux qui me diront que ce zine est sans intérêt, aux « grands chroniqueurs » de zine qui parfois semblent oublier que rien n’est parfait, que l’intérêt d’un zine réside en l’intérêt qu’on porte au sujet. Ce premier numéro a été long et laborieux et, j’avoue, loin d’être assez complet. Cette ébauche garde donc l’essentiel, culture générale, musique, DIY ; le compromis entre l’envie et le maté- riel pour écrire un livre et la volonté de présenter le mouvement Riot Grrrl et les initiatives parfois marginales et méconnues de la scène punk, féministe, lesbienne-gay-bi-trans-queer (LBGTQ). -
Razorcake Issue #09
PO Box 42129, Los Angeles, CA 90042 www.razorcake.com #9 know I’m supposed to be jaded. I’ve been hanging around girl found out that the show we’d booked in her town was in a punk rock for so long. I’ve seen so many shows. I’ve bar and she and her friends couldn’t get in, she set up a IIwatched so many bands and fads and zines and people second, all-ages show for us in her town. In fact, everywhere come and go. I’m now at that point in my life where a lot of I went, people were taking matters into their own hands. They kids at all-ages shows really are half my age. By all rights, were setting up independent bookstores and info shops and art it’s time for me to start acting like a grumpy old man, declare galleries and zine libraries and makeshift venues. Every town punk rock dead, and start whining about how bands today are I went to inspired me a little more. just second-rate knock-offs of the bands that I grew up loving. hen, I thought about all these books about punk rock Hell, I should be writing stories about “back in the day” for that have been coming out lately, and about all the jaded Spin by now. But, somehow, the requisite feelings of being TTold guys talking about how things were more vital back jaded are eluding me. In fact, I’m downright optimistic. in the day. But I remember a lot of those days and that “How can this be?” you ask. -
Razorcake Issue
PO Box 42129, Los Angeles, CA 90042 #19 www.razorcake.com ight around the time we were wrapping up this issue, Todd hours on the subject and brought in visual aids: rare and and I went to West Hollywood to see the Swedish band impossible-to-find records that only I and four other people have RRRandy play. We stood around outside the club, waiting for or ancient punk zines that have moved with me through a dozen the show to start. While we were doing this, two young women apartments. Instead, I just mumbled, “It’s pretty important. I do a came up to us and asked if they could interview us for a project. punk magazine with him.” And I pointed my thumb at Todd. They looked to be about high-school age, and I guess it was for a About an hour and a half later, Randy took the stage. They class project, so we said, “Sure, we’ll do it.” launched into “Dirty Tricks,” ripped right through it, and started I don’t think they had any idea what Razorcake is, or that “Addicts of Communication” without a pause for breath. It was Todd and I are two of the founders of it. unreal. They were so tight, so perfectly in time with each other that They interviewed me first and asked me some basic their songs sounded as immaculate as the recordings. On top of questions: who’s your favorite band? How many shows do you go that, thought, they were going nuts. Jumping around, dancing like to a month? That kind of thing. -
It's the Amazing
Just when you thought it was safe to go near the mailbox... It’s the amazing... MutantMutant PopPop C a t a l o g ONCE AGAIN IN THE ULTRA-TRADITIONALIST PHOTOCOPIED FORMAT! #38 This catalog is so far over due that the phrase “late” doesn’t begin to do the matter justice. Rather than spend this entire page offering up a wave of excuses and explanations—some lame, some valid—I’ll just refer anyone who cares to the Mutant Pop website: http://www.mutantpop.com, then click INTERVIEWS and select interview no. 10. That’s as complete a recita- tion of my discouragements and failings as anything.... I’m very sorry for any inconvenience that the “18 months of sloth” has caused. I’m actually a little amazed that I’m back with full avidity doing label stuff again—orders are shipping on time, and new stuff is once again being accumulated for the inventory here. The next wave of SRCDs is, at long last, in preparation— apologies and thanks are especially due to the long-suffering SRCD subscribers who have been patiently twiddling their thumbs waiting for me to get it back in gear. I thank you for your tolerance and kindness. While I may have earned a failing grade for my (non-)effort with Mutant Pop in 2001, the year was not a total loss. There may AttentionAttention DeficitDeficit have been only two MP releases for all of 2001, but they both kicked some major boo-tay... Take, for example, the full-length compact disc by ATTENTION DEFICIT, Adventures in Laissez-Faire Eco- nomics.. -
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. -
Green Day's American Idiot Music by Green Day; Lyrics by Billie Joe Armstrong; Book by Billie Joe Armstrong and Michael Mayer
Next on our stage: OTHER DESERT CITIES CALENDAR GIRLS IDEATION SEPT. 22-OCT. 23 NOV. 17-DEC. 18 JAN. 19-FEB. 19 HIGHLIGHTS Tarif Pappu, Joey Pisacane and Andrew Erwin play three friends stuck in suburbia. All photos of City Lights’ production of Green Day’s American Idiot are by Susan Mah Photography. A companion guide to Green Day’s American Idiot with music by Green Day, lyrics by Billie Joe Armstrong and book by Billie Joe Armstrong and Michael Mayer. July 14-Aug. 21, 2016. Johnny (Joey Pisacane, center) feels drawn to the sensuous city girl Whatsername (Danielle Mendoza), but his dangerous alter ego St. Jimmy (Sean Okuniewicz) is determined to get in the way. Synopsis This Tony Award-winning rock extravaganza tells the story of three lifelong friends, forced to choose between their unbridled dreams and the safety of suburbia, on a quest for true meaning in a post-9/11 world. Based on Green Day’s Grammy Award-winning, multiplatinum album, and featuring Boulevard of Broken Dreams, 21 Guns, Wake Me Up When September Ends and the blockbuster title track, Green Day’s American Idiot boldly takes the American musical and City Lights where they’re never gone before. Characters Along with a powerhouse ensemble, this cast of 21 includes these featured characters: Johnny (Joey Pisacane): Also known as the Jesus of Suburbia (you’ll get it when you see the show), Johnny is one of three friends in suburbia trying to figure life out. His quest leads him to the city Tunny (Andrew Erwin): Another of the three friends. -
Screeching Weasel How to Make Enemies and Irritate People Mp3, Flac, Wma
Screeching Weasel How To Make Enemies And Irritate People mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: How To Make Enemies And Irritate People Country: US Released: 1994 Style: Punk MP3 version RAR size: 1146 mb FLAC version RAR size: 1233 mb WMA version RAR size: 1808 mb Rating: 4.5 Votes: 403 Other Formats: AHX TTA MPC AU AIFF AUD ADX Tracklist Hide Credits A1 Planet Of The Apes A2 99 A3 I Hate Your Guts On Sunday Jonny R U Weird? A4 Backing Vocals – Gretchen SmearWritten-By – B. Paine*, L. Paine* A5 Time Bomb A6 Burnout Girl A7 If I Was You Nobody Likes You B1 Written-By – D. Vapid* B2 Degenerate Surf Goddess B3 Written-By – J. King* B4 Kathy Isn't Right B5 Kathy's On The Roof B6 I Wrote Holden Caulfield Companies, etc. Copyright (c) – Screeching Weasel Phonographic Copyright (p) – Lookout! Records Recorded At – Panic's Basement Mastered At – Golden Mastering Mastered At – Greg Lee Processing – L-43197 Credits Bass [Off The Rack Bass], Backing Vocals – Mike Dirnt Cover – Christopher Appelgren Drums [Garage Sale Drums] – Dan Panic Engineer – Mass Giorgini Guitar [Pawn Shop Guitar] – Jughead Photography By [Band Photos] – Anne Mullen Producer – Benito Mussoweasel* Vocals [Vocalization], Guitar [$200 Guitar] – Ben Weasel Written-By – B. Weasel* (tracks: A1 to A3, A5 to B6) Notes Includes lyric sheet and detailed discography (through 1994). Recorded June 14-16 & 22-24, 1994 in Panic's basement. Engineered on the Leapin' Lizard mobile division of Sonic Iguana Studios. Gretchen Smear appears courtesy of Headhunter Records. Mike Dirnt appears courtesy of Reprise Records Ben Weasel, Dan Panic, and Jughead appear courtesy of Lookout Records Mass Giorgini appears courtesy of Lafayette, Indiana. -
Razorcake Issue
PO Box 42129, Los Angeles, CA 90042 #17 www.razorcake.com It’s strange the things you learn about yourself when you travel, I took my second trip to go to the wedding of an old friend, andI the last two trips I took taught me a lot about why I spend so Tommy. Tommy and I have been hanging out together since we much time working on this toilet topper that you’re reading right were about four years old, and we’ve been listening to punk rock now. together since before a lot of Razorcake readers were born. Tommy The first trip was the Perpetual Motion Roadshow, an came to pick me up from jail when I got arrested for being a smart independent writers touring circuit that took me through seven ass. I dragged the best man out of Tommy’s wedding after the best cities in eight days. One of those cities was Cleveland. While I was man dropped his pants at the bar. Friendships like this don’t come there, I scammed my way into the Rock and Roll Hall of Fame. See, along every day. they let touring bands in for free, and I knew this, so I masqueraded Before the wedding, we had the obligatory bachelor party, as the drummer for the all-girl Canadian punk band Sophomore which led to the obligatory visit to the strip bar, which led to the Level Psychology. My facial hair didn’t give me away. Nor did my obligatory bachelor on stage, drunk and dancing with strippers. -
Leila El Bashir Serious Listeners of Music Often Talk About Their Favorite Songs and Bands in Terms of Their Favorite Genres, Ho
THE DEATH OF PUNK: REINCARNATION OF A DEAD GENRE Leila El Bashir Serious listeners of music often talk about their favorite songs and bands in terms of their favorite genres, however, most listeners do not have a clear conception of what it means for a piece of music to be categorized in a specific genre. Genre is a form of classification that most people correlate strictly with musical style, that is, the way a song sounds. People do not realize that genres today are becoming more like artificial categories defined by the music industry and popular culture to commodify and commercialize music. This popular culture can be summed up to what Theodor Adorno and Max Horkheimer, in The Culture Industry: Enlightenment as Mass Deception, terms the culture industry. They suggest that culture and its products, such as music, are being commodified and that culture as a common denominator already contains in its embryo that schematisation and process of cataloguing and classification which bring culture within the sphere of administration (7). In this way, genres can be viewed as a branch of the culture industry, being a form of classification that can be managed by culture administration. Therefore, one can see how culture and genre interact. Furthermore, David Brackett in his article, Musical meaning: genres, categories, and crossover, suggests how genres are more than musical style: Genres bring with them connotations about music and identity which may encode specific affective qualities such as conformity, rebelliousness, commercialism, selling out, art for arts sake; and may encode a whole variety of social characteristics (66). -
Y a N T R I M a I L O R D E R L I S
YANTRI MAILORDERLISTE www.yantri.net metalucifer[at]freenet.de Stand 07.07.2014 ACHTUNG!! Alles Einzelstücke!! Only single items!! All Prices in EURO!!! THRASH – DEATH – BLACK – GRIND AGATUS (Greece) The Weaving Fates Iron Pegasus 2002 CD 10 ARKHAM 13 (US) Born To Bring Death FWT Records 2005 (US-Import) CD 8 ASHES YOU LEAVE (Cro) The Inheritance of Sin and Shame Morbid Records 2000, Full Promo CD 3 BLACK (US) Black Die Hard 1997, promo copy CD 2 BORKNAGAR The Archaic Course Century Media 1998, full promo M CD 5 CALLENISH CIRCLE Graceful... Yet Forbidding EdgeRunner 2001, 4 Bonustracks CD 6 CASKET (Ger) Faithless Promo 1998, GOTHIC METAL CD 3 CENOTAPH (Mex) Saga Belica 2002; only front cover! (promo) CD 2 CHOPCORE (US) Bloody Little Mess Metal Age Productions 2002,new CD 5 CONSPIRACY OF NOISE Chicks with Dicks 1993 CD 5 CROWHEAD (Nor) Frozen My Kingdom 2002 DigiCD 5 DAWN OF DREAMS (Aut) Eidolon Hammer Muzik 2000, Gothic Metal CD 5 DEAF & DUMB / IMPERIAL FOETICIDE Split CD Epidemie 1999; Czech-Grind! CD 5 DEATH MACHINE (US) Death Machine Sensory 2003, US-Import, new CD 8 DELIRIOUS (Ger) Designed By Violence B.Mind Records 2001, Thrash! CD 5 DELIRIOUS (Ger) Time is Progress B.Mind Records 1999, Thrash! CD 5 DEMOLITION (Aut) Out Of Noland Gutter 2001, disc with promo print CD 4 DEMONICON (US) Condemned Creation Root Of All Evil 2000, US-Import CD 8 DIABOLIQUE (Swe) The Black Flower Black Sun Records 1999 CD 6 DISGRACE (Fin) Superhuman Dome Morbid Records 1995, new CD 5 DISMAL EUPHONY Python Zero Nuclear Blast 2001,new CD 5 DISSENTER (Pol) Bloodlust and Blasphemy Polen-Import 2000, incl. -
The Art Worlds of Punk-Inspired Feminist Networks
! The Art Worlds of Punk-Inspired Feminist Networks ! ! ! ! ! ! A social network analysis of the Ladyfest feminist music and cultural movement in the UK ! ! ! ! ! ! A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities ! ! ! 2014 ! ! Susan O’Shea ! ! School of Social Sciences ! ! Chapter One Whose music is it anyway? 1.1. Introduction 12 1.2. Ladyfest, Riot Girl and Girls Rock camps 14 1.2.1. Ladyfest 14 1.2.2. Riot Grrrl 16 1.2.3. Girls Rock camps 17 1.3. Choosing art worlds 17 1.4. The evidence: women’s participation in music 20 1.5. From the personal to the political 22 1.6. Thesis structure 25 Chapter Two The dynamics of feminist cultural production 2.1. Introduction 27 2.2. Art Worlds and Becker’s approach 29 2.3. Punk, Riot Grrrl and Ladyfest 32 2.3.1. Punk 33 2.3.2. Riot Grrrl 34 2.3.3. Ladyfest 40 2.4. The political economy of cultural production 41 2.5. Social movements, social networks and music 43 2.6. Women in music and art and the translocal nature of action 48 2.6.1. Translocality 50 2.7. Festivals as networked research sites 52 2.8. Conclusion 54 Chapter Three Methodology 3.1. Introduction 56 !2 ! 3.2. Operationalising Art Worlds, research aims and questions 57 3.3. Research philosophy 58 3.4. Concepts and terminology 63 3.5. Mixed methods 64 3.6. Ethics 66 3.6.1. Ethics review 68 3.6.2. -
A Global Threat • Ashers • Common Enemy Defiance
PRESENTS RELEASES FROM: A GLOBAL THREAT • ASHERS • COMMON ENEMY DEFIANCE • DUCKY BOYS • F BOMBERS MDC/NAKED AGGRESSION/SöM-HI NöISE/RAW POWER MORAL CRUX • THE NERVE SCHEME • PINK LINCOLNS THE PINKERTON THUGS • THE SCARRED • THE SPEARS TENEBRAE • VIOLENT AFFAIR Now Exclusively Distributed by A GLOBAL THREAT Street Date: Until We Die, LP/CD AVAILABLE NOW! INFORMATION: Artist Hometown: Boston, MA Key Markets: Boston, Texas, Arizona, Minnesota, Chicago Germany, United Kingdom For Fans of: CASUALTIES, THE UNSEEN, BLANKS 77, DEFIANCE, KRUM BUMS, street punk, punk rock One of the best selling and most revered albums in the street punk genre! Until We Die was originally released in 2000, and quickly went out of print the next year. In 2003, after obtaining master rights back, Mark Unseen’s label A.D.D. Records did a repressing that went out of print in a matter of months. Today, the album is next to impossible to find, with the original cd pressing regularly fetching over $100 on eBay. The vinyl format has ARTIST: A GLOBAL THREAT been meticulously re-mixed and re-mastered specifically for the different TITLE: Until We Die formats, including limited 200-gram black (sold out) and 160-gram colored LABEL: JAILHOUSE vinyl, and comes with a full-color poster foldout. We plan on another 200 CAT#: JHR116-1/2 gram re-pressing for late summer 2013. FORMAT: LP/CD GENRE: Punk Rock/Street Punk BOX LOT: LP: 15 / CD: 30 Marketing Points: SRLP: LP: $12.98 / CD: $10.98 UPC: LP: 721405294282 CD: 721405294268 • Back in print after 10 years of obscurity EXPORT: