Shit | Search Results | the Enquirer the Enquirer
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Family Album
1 2 Cover Chris Pic Rigablood Below Fabio Bottelli Pic Rigablood WHAT’S HOT 6 Library 8 Rise Above Dead 10 Jeff Buckley X Every Time I Die 12 Don’t Sweat The Technique BACKSTAGE 14 The Freaks Come Out At Night Editor In Chief/Founder - Andrea Rigano Converge Art Director - Alexandra Romano, [email protected] 16 Managing Director - Luca Burato, [email protected] 22 Moz Executive Producer - Mat The Cat E Dio Inventò... Editing - Silvia Rapisarda 26 Photo Editor - Rigablood 30 Lemmy - Motorhead Translations - Alessandra Meneghello 32 Nine Pound Hammer Photographers - Luca Benedet, Mattia Cabani, Lance 404, Marco Marzocchi, 34 Saturno Buttò Alex Ruffini, Federico Vezzoli, Augusto Lucati, Mirko Bettini, Not A Wonder Miss Chain And The Broken Heels - Tour Report Boy, Lauren Martinez, 38 42 The Secret Illustrations - Marcello Crescenzi/Rise Above 45 Jacopo Toniolo Contributors - Milo Bandini, Maurice Bellotti/Poison For Souls, Marco Capelli, 50 Conkster Marco De Stefano, Paola Dal Bosco, Giangiacomo De Stefano, Flavio Ignelzi, Brixia Assault Fra, Martina Lavarda, Andrea Mazzoli, Eros Pasi, Alex ‘Wizo’, Marco ‘X-Man’ 58 Xodo, Gonz, Davide Penzo, Jordan Buckley, Alberto Zannier, Michele & Ross 62 Family Album ‘Banda Conkster’, Ozzy, Alessandro Doni, Giulio, Martino Cantele 66 Zucka Vs Tutti Stampa - Tipografia Nuova Jolly 68 Violator Vs Fueled By Fire viale Industria 28 Dear Landlord 35030 Rubano (PD) 72 76 Lagwagon Salad Days Magazine è una rivista registrata presso il Tribunale di Vicenza, Go Getters N. 1221 del 04/03/2010. 80 81 Summer Jamboree Get in touch - www.saladdaysmag.com Adidas X Revelation Records [email protected] 84 facebook.com/saladdaysmag 88 Highlights twitter.com/SaladDays_it 92 Saints And Sinners L’editore è a disposizione di tutti gli interessati nel collaborare 94 Stokin’ The Neighbourhood con testi immagini. -
“Punk Rock Is My Religion”
“Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area. -
The Forum, Vol. 6, Issue 1
Volume 6 Spring 2014 Phi Alpha Theta Alpha-Nu-Gamma Chapter California Polytechnic State University San Luis Obispo CALIFORNIA POLYTECHNIC STATE UNIVERSITY, SAN LUIS OBISPO Published in the United States of America by the Cal Poly History Department 1 Grand Avenue, Building 47, Office 27c San Luis Obispo, CA 93407 http://cla.calpoly.edu/hist/ Copyright © 2014 California Polytechnic State University, San Luis Obispo Cover art copyright © 2009 Danielle Steussy. Photographs copyright © 2014 Andrew Gorman, Kevin McLaren, Soquel Filice, Alan Parkes, Jackson Baumgartner, Matthew Brown Neither the editors nor Cal Poly assume responsibility for statements of fact or opinion made by the contributors. All Rights Reserved. Except in those cases which comply with the fair use guidelines of U.S. copyright law (U.S.C Title 17), no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any means, electronic, mechanical, or otherwise, without the prior permission from the publisher. All articles appearing in this journal are simultaneously published electronically via the DigitalCommons@CalPoly and are therefore subject to the terms specified in the Non-Exclusive License Agreement for Use of Materials in the DigitalCommons@CalPoly. http://digitalcommons.calpoly.edu/forum/ ISSN 2153-7178 ISSN 2153-7119 JOURNAL STAFF EXECUTIVE EDITORS Laura Neylan Undergraduate History Student Nicky Williams Undergraduate History Student EXECUTIVE EDITORS Austin Due Undergraduate History Student Sean Martinez Undergraduate History Student Kevin McLaren Undergraduate History Student Wendy Myren Graduate History Student FACULTY ADVISORS Dr. Lewis Call Professor of History Dr. Thomas Trice Professor of History EDITOR’S NOTE This year’s edition of The Forum represents hours of research, days of writing, and years of anticipation. -
America's Hardcore.Indd 278-279 5/20/10 9:28:57 PM Our First Show at an Amherst Youth Center
our first show at an Amherst youth center. Scott Helland’s brother Eric’s band Mace played; they became The Outpatients. Our first Boston show was with DYS, The Mighty COs and The AMERICA’S HARDCORE FU’s. It was very intense for us. We were so intimidated. Future generations will fuck up again THE OUTPATIENTS got started in 1982 by Deep Wound bassist Scott Helland At least we can try and change the one we’re in and his older brother Eric “Vis” Helland, guitarist/vocalist of Mace — a 1980-82 — Deep Wound, “Deep Wound” Metal group that played like Motörhead but dug Black Flag (a rare blend back then). The Outpatients opened for bands like EAST COAST Black Flag, Hüsker Dü and SSD. Flipside called ’em “one of the most brutalizing live bands In 1980, over-with small cities and run-down mill towns across the Northeast from the period.” 1983’s gnarly Basement Tape teemed with bored kids with nothing to do. Punk of any kind earned a cultural demo included credits that read: “Play loud in death sentence in the land of stiff upper-lipped Yanks. That cultural isolation math class.” became the impetus for a few notable local Hardcore scenes. CANCEROUS GROWTH started in 1982 in drummer Charlie Infection’s Burlington, WESTERN MASSACHUSETTS MA bedroom, and quickly spread across New had an active early-80s scene of England. They played on a few comps then 100 or so inspired kids. Western made 1985’s Late For The Grave LP in late 1984 Mass bands — Deep Wound, at Boston’s Radiobeat Studios (with producer The Outpatients, Pajama Slave Steve Barry). -
The Bands of Detroit
IT’S FREE! TAKE ONE! DETROIT PUNK ROCK SCENE REPORT It seems that the arsenal of democracy has been raided, pillaged, and ultimately, neglected. A city once teeming with nearly two million residents has seemingly emptied to 720,000 in half a century’s time (the actual number is likely around 770,000 residing citizens, including those who aren’t registered), leaving numerous plots of land vacant and unused. Unfortunately, those areas are seldom filled with proactive squatters or off-the-grid residents; most are not even occupied at all. The majority of the east and northwest sides of the city are examples of this urban blight. Detroit has lost its base of income in its taxpaying residents, simultaneously retaining an anchor of burdensome (whether it’s voluntary or not) poverty-stricken, government-dependent citizens. Just across the Detroit city borders are the gated communities of xenophobic suburban families, who turn their collective noses at all that does not beckon to their will and their wallet. Somewhere, in the narrow cracks between these two aforementioned sets of undesirables, is the single best punk rock scene you’ve heard nary a tale of, the one that everyone in the U.S. and abroad tends to overlook. Despite receiving regular touring acts (Subhumans, Terror, Common Enemy, Star Fucking Hipsters, Entombed, GBH, the Adicts, Millions of Dead Cops, Mouth Sewn Shut, DRI, DOA, etc), Detroit doesn’t seem to get any recognition for homegrown punk rock, even though we were the ones who got the ball rolling in the late 60s. Some of the city’s naysayers are little more than punk rock Glenn Becks or Charlie Sheens, while others have had genuinely bad experiences; however, if the world is willing to listen to what we as Detroiters have to say with an unbiased ear, we are willing to speak, candidly and coherently. -
New York City Hardcore Punk and the Struggle for Inclusive Space
De Urbanitate. Tales of Urban Lives and Spaces 133 Don’t Forget the Streets: New York City Hardcore Punk and the Struggle for Inclusive Space Alan Parkes History Instructor, Long Beach Community College & California State University, Long Beach [email protected] KEYWORDS: New York City; punk; hardcore; youth crew; subculture; masculinity; straight edge; neoliberalism Mike Ferrero, a self-described “fucked up kid” from a small working class town in Connecticut, recalls his life changing after the first time he encountered hardcore punk in New York City in the early 1980s; “I walked away from my first CBGB’s matinee blown away. I was never going to miss another one of these. I could be half dead, but I’m going to make it to every matinee forever.”1 Hardcore, as the louder, faster, and more politically infused successor to punk, from then on played no small role in Ferrero’s life. It offered him a reprieve from difficulties at home and high school, which he described as a torture chamber. At matinees, he let out the week’s aggression on hardcore’s dancefloor and began to express himself through the creation of his own music. The formation of his band symbolized the actualization of a dream he conjured up to escape the realities of his life. In New York hardcore, bands, only distinct from fans by the instruments in their hands, shouted cries of “unity” amongst kids who wanted something more than the urban decay that surrounded their revered, egalitarian hardcore space. As Ferrero recalls, “All of a sudden I found this group of other fucked up kids, and then I didn’t feel so alone. -
Punk Record Labels and the Struggle for Autonomy 08 047 (01) FM.Qxd 2/4/08 3:31 PM Page Ii
08_047 (01) FM.qxd 2/4/08 3:31 PM Page i Punk Record Labels and the Struggle for Autonomy 08_047 (01) FM.qxd 2/4/08 3:31 PM Page ii Critical Media Studies Series Editor Andrew Calabrese, University of Colorado This series covers a broad range of critical research and theory about media in the modern world. It includes work about the changing structures of the media, focusing particularly on work about the political and economic forces and social relations which shape and are shaped by media institutions, struc- tural changes in policy formation and enforcement, technological transfor- mations in the means of communication, and the relationships of all these to public and private cultures worldwide. Historical research about the media and intellectual histories pertaining to media research and theory are partic- ularly welcome. Emphasizing the role of social and political theory for in- forming and shaping research about communications media, Critical Media Studies addresses the politics of media institutions at national, subnational, and transnational levels. The series is also interested in short, synthetic texts on key thinkers and concepts in critical media studies. Titles in the series Governing European Communications: From Unification to Coordination by Maria Michalis Knowledge Workers in the Information Society edited by Catherine McKercher and Vincent Mosco Punk Record Labels and the Struggle for Autonomy: The Emergence of DIY by Alan O’Connor 08_047 (01) FM.qxd 2/4/08 3:31 PM Page iii Punk Record Labels and the Struggle for Autonomy The Emergence of DIY Alan O’Connor LEXINGTON BOOKS A division of ROWMAN & LITTLEFIELD PUBLISHERS, INC. -
Subkultura Straight Edge
Masarykova univerzita Filozofická fakulta Ústav hudební vědy Bakalářská diplomová práce 2015 Madeleine Kosmáková Masarykova univerzita Filozofická fakulta Ústav hudební vědy Sdružená uměnovědná studia Madeleine Kosmáková Subkultura Straight edge Bakalářská diplomová práce Vedoucí práce: Mgr. David Balarin 2015 2 Prohlašuji, že jsem diplomovou práci vypracovala samostatně s využitím uvedených pramenů a literatury. ………………………………………………………. Podpis autora práce 3 Ráda bych poděkovala Mgr. Davidovi Balarinovi za vedení mé práce. Rodičům a manželovi za podporu během studia. 4 Obsah 1. Vymezení pojmů 8 1.1 Subkultura 8 1.2 Punk 9 1.3 Hardcore 9 2. Úvod 10 3. Straight edge jako subkultura 10 3.1 Vznik subkultury Straight edge 10 3.2 Ian MacKaye 12 3.3 Rysy subkultury Straight edge 13 4. Straight edge a propagace 15 4.1 Symbol X 15 4.2. D.I.Y. etika 16 5. Nezávislá vydavatelství 16 5.1 Nezávislá vydavatelství ve Spojených státech amerických 17 5.1.1 Dischord Records 17 5.1.2. Deathwish Inc. 17 5.1.3 Seventh Dagger Records 18 5.1.4 Revelation Records 19 5.1.5 Catalyst Records 19 5.2 Nezávislá vydavatelství v Evropě 19 5.2.1 Emancypunkx 19 5.2.2 Commitment Records 19 5.2.3 Straight & Alert Records 20 5.2.4 Crucial Response Records 20 5.3 FanZine 20 6. Historie Straight edge a jeho podoby 21 6.1 Časová osa 21 6.2 Old School 21 5 6.3 Youth crew 22 6.4 Politicky korektní (PC) Straight edge 22 6.5 Hardline 22 6.6 Hare Krišna Straight edge 25 7. -
Punk Record Labels and the Struggle for Autonomy 08 047 (01) FM.Qxd 2/4/08 3:31 PM Page Ii
08_047 (01) FM.qxd 2/4/08 3:31 PM Page i Punk Record Labels and the Struggle for Autonomy 08_047 (01) FM.qxd 2/4/08 3:31 PM Page ii Critical Media Studies Series Editor Andrew Calabrese, University of Colorado This series covers a broad range of critical research and theory about media in the modern world. It includes work about the changing structures of the media, focusing particularly on work about the political and economic forces and social relations which shape and are shaped by media institutions, struc- tural changes in policy formation and enforcement, technological transfor- mations in the means of communication, and the relationships of all these to public and private cultures worldwide. Historical research about the media and intellectual histories pertaining to media research and theory are partic- ularly welcome. Emphasizing the role of social and political theory for in- forming and shaping research about communications media, Critical Media Studies addresses the politics of media institutions at national, subnational, and transnational levels. The series is also interested in short, synthetic texts on key thinkers and concepts in critical media studies. Titles in the series Governing European Communications: From Unification to Coordination by Maria Michalis Knowledge Workers in the Information Society edited by Catherine McKercher and Vincent Mosco Punk Record Labels and the Struggle for Autonomy: The Emergence of DIY by Alan O’Connor 08_047 (01) FM.qxd 2/4/08 3:31 PM Page iii Punk Record Labels and the Struggle for Autonomy The Emergence of DIY Alan O’Connor LEXINGTON BOOKS A division of ROWMAN & LITTLEFIELD PUBLISHERS, INC. -
The Age of Emocore
The History of Rock Music - The Nineties The History of Rock Music: 1990-1999 Raves, grunge, post-rock, trip-hop 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 Age of Emocore (These are excerpts from my book "A History of Rock and Dance Music") Emocore, 1989-94 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. While magazines kept publicizing the "death of punk-rock", hardcore became a pervasive movement that did not leave any town (or country) untouched. As if galvanized by its own death, the movement took on a life of its own and became a genre within the genre. In the 1990s that genre, in turn, spawned a number of sub-genres. First and foremost, there was "emocore", the style invented in the late 1980s by Rites Of Spring and the Washington contingent. Their "emotional" hardcore alternated quiet and furious musical parts, admitted moody arrangements, indulged in time changes and mid-tempo rhythms, leveraged emotional singing that could whisper as well as shout within the same song, and was not limited to the short/fast format of hardcore. In other words, it was almost the negation of hardcore. While the genre was, by definition, rather loose, bands that fell into the category during the 1990s included: San Francisco's Jawbreaker, with Unfun (1990); Oregon's Heatmiser, the group of songwriter Elliott Smith and bassist Sam Coomes (formerly of Donner Party), with Dead Air (1993); Los Angeles' Weezer, the most successful of the batch, with Weezer (1994). -
SPRING 1989 9:00 Smiling Fiend Schedule/Spring 1989 Habit of Thought; Habit of Action, Alternative Music to Satisfy All Your Vinyl Fetishes
KUCI 88.9 FM Nufc'; : M.e ' .~ 'News 7 Seconds .Rap Music Rap Reviews: NitzerEbb " Front 242 :In:nian Death . Rockets . Cure .. KUCIMANAGEMENTSTAFF General Manager Jeanette Grimm What's Up, CrazyPup? Program Director Mark Baker Music Director Gary Downs Director Rachel Shishido hen I'm not masquerading as a per ing. We've included record reviews, inter Promotions Marketing Director Danielie Michaelis son who looks like he knows what views, and as much humor as our planned Production Director Glenn Habas W he's doing, I'm assaulting the air community can handle. Public Service Director Christina Larsen waves on KUCI as The Industrial PowerHour, Iwould Iike to express my thanksCor condo News Director Dave Mathieson Fridays at midnight. athought I should plug lences) to all those groovy folks that helped Sports Director Dave Desmond Training Director Carol Moore my show before someone plugs for me!) put the Guide together. Special thanks to Jim Development Director Eric Nusbaum Our last program guide-Fall 1988-came "Magic Fingers" Miller, who typed this stuffup. Traffic Director David Boyns out looking slick as ever. Thanks to Bill "Skee He would have made Liberace proud. Interview Coordinator Adeela Zuhuruddin tor" Derouchy. Well, that's all over now since If you have any questions or comments Cor UCRN Representative Mark Sugars Program Guide Editors Juris Zinbergs I decided to do it. Hopefully the next issue complaints) please feel free to contact KUCI. Jim Neuroses Miller Summer 1989-will come out much sooner. I'll be sure to disavow any knowledge. If you Gross Things Director Phlegm McMucus JNM Note- You man.,. -
João Batista De Menezes Bittencourt Nas Encruzilhadas Da Rebeldia
UNIVERSIDADE ESTADUAL DE CAMPINAS Instituto de Filosofia e Ciências Humanas Programa de Doutorado em Ciências Sociais JOÃO BATISTA DE MENEZES BITTENCOURT NAS ENCRUZILHADAS DA REBELDIA: UMA ETNOCARTOGRAFIA DOS STRAIGHTEDGES EM SÃO PAULO Tese apresentada ao Programa de Doutorado em Ciências Sociais do Instituto de Filosofia e Ciências Humanas, da Universidade Estadual de Campinas como requisito para obtenção do título de Doutor em Ciências Sociais. Orientadora: Profa. Dra. Amnéris Ângela Maroni Campinas 2011 FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA DO IFCH - UNICAMP Bibliotecária: Cecília Maria Jorge Nicolau CRB nº 3387 Bittencourt, João Batista de Menezes B548e Nas encruzilhadas da rebeldia: uma etnocartografia dos straightedges em São Paulo / João Batista de Menezes Bittencourt. - - Campinas, SP : [s. n.], 2011. Orientador: Amnéris Ângela Maroni. Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas. 1. Etnologia. 2. Cartografia. 3. Jovens. 4. Subjetivação. 5. Antropologia urbana. 6. Corpo. I. Maroni, Amnéris Ângela, 1951- II. Universidade Estadual de Campinas. Instituto de Filosofia e Ciências Humana s. III.Título. Título em inglês: At the crossroads of rebellion: an ethnocartography of Straightedge in São Paulo Ethnology Cartography Palavras chaves em inglês (keywords) : Young Subjectification Urban Anthropology Body Área de Concentração: Cultura e Política Titulação: Doutor em Ciências Sociais Banca examinadora: Amnéris Ângela Maroni, Janice Caiafa, Maria Isabel Mendes de Almeida, Eduardo Vargas Viana, Omar Ribeiro Thomaz Data da defesa: 16-05-2011 Programa de Pós-Graduação: Ciências Sociais 2 4 Para Marina, com intensidades. 5 6 AGRADECIMENTOS Se existe uma idéia central na tese, eu atribuiria à afirmação de que toda produção individual é desde sempre coletiva, assim, considero esse trabalho o resultado dos inúmeros encontros bem sucedidos que tive durante esses quatro anos; encontros esses que se transformaram nos pensamentos que inundam essa e as demais páginas que se seguem.