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The College News 1989-9-21 Vol.11 No. 2 (Bryn Mawr, PA: Bryn Mawr College, 1989)
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Publications, Special Bryn Mawr College News Collections, Digitized Books 1989 The olC lege News 1989-9-21 Vol.11 No. 2 Students of Bryn Mawr College Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/bmc_collegenews Custom Citation Students of Bryn Mawr College, The College News 1989-9-21 Vol.11 No. 2 (Bryn Mawr, PA: Bryn Mawr College, 1989). This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/bmc_collegenews/1417 For more information, please contact [email protected]. Choice Articles Want to write for us? Arts and Entertainent See centerspread - pages 6 and 7 Seepage 3 See pages 8 and 9 [ I ^ • ■ • THE COLLEGE NEWS VOLUMEHE XI Numbert- FOUNDEt) 1914 ~T^ BRYN MAWR COLLEGE SEPTEMBER 21,1989 How committed is BMC to campus accessibility? BY GRETCHEN JUDE towards the physical aspects of Bryn Mawr College, this reporter wondered Renovations and improvements of —"what about accessibility for the mobil- several campus buildings—most nota- ity impaired? Why weren't ramps or bly Pembroke East, Merion and Brecon— elevators included in the rather gener- cost the college nearly three million dol- ous construction budgets? Although, lars this summer. The most obvious according to Moshen Malek of physical construction, Pern East, was completed plant, the college is planning a complete . in thirteen weeks at a cost of $2 million; study of campus-wide accessibility Merion's staircases and fourth floor were "within the next couple months", the renovated atapproximatelv$180,(X)0,and college already "feels that there is ade- the first and fourth floor Brecon bath- quateaccess". -
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. -
Punk, Confrontation, and the Process of Validating Truth Claims
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 2011 Being in the Know: Punk, Confrontation, and the Process of Validating Truth Claims Christopher Richard Penna Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Philosophy Commons Recommended Citation Penna, Christopher Richard, "Being in the Know: Punk, Confrontation, and the Process of Validating Truth Claims" (2011). Master's Theses. 525. https://ecommons.luc.edu/luc_theses/525 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2011 Christopher Richard Penna LOYOLA UNIVERSITY CHICAGO BEING IN THE KNOW: PUNK, CONFRONTATION, AND THE PROCESS OF VALIDATING TRUTH CLAIMS A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS PROGRAM IN CULTURAL AND EDUCATIONAL POLICY STUDIES BY CHRISTOPHER R. PENNA DIRECTOR: NOAH W. SOBE, PH.D CHICAGO, IL AUGUST 2011 Copyright by Christopher R. Penna, 2011 All rights reserved. ACKNOWLEDGEMENTS I would first like to thank all of the people who helped me a long this process of writing this thesis. I was blessed to have a line of outstanding professors in my program in Cultural Educational Policy Studies at Loyola University Chicago, but I want to thank in particular, Dr. Noah Sobe for advising me and encouraging me to believe that I am not crazy to write about punk. -
Kurt Sayenga Interviewed by John Davis June 13, 2017 Pasadena, California 0:00:00 to 1:22:55
Kurt Sayenga Interviewed by John Davis June 13, 2017 Pasadena, California 0:00:00 to 1:22:55 ________________________________________________________________________ 0:00:00 Sayenga: I’m Kurt Sayenga. Davis: And I’m John Davis. I’m the performing arts metadata archivist at the University of Maryland. Today is June 13th, 2017. So, we're here to talk about your work that you did with fanzines in Washington D.C., particularly in the… Sayenga: My juvenilia, yes. Davis: Yes, [laugh] in the 1980s. I’m basically trying to speak to people to hear their stories about why they did zines, how they did zines. What were the experiences like? What did they take from it? You today, how do you connect to it? All these things. I’m just kind of trying to review that with some people who have done fanzines, who are from D.C. and just see kind of where it took them, as well as how they did it. So as far as Greed goes, first issue was I think 1985? Let’s consult. Sayenga: Good question. I’m going to look it up here. Let’s see. Oh, there’s a picture of—man, late Winter 1986. [laugh] Davis: OK. Very specific. Sayenga: So basically probably almost 1987, which makes it—no, ’86 is right though, because I know it took a while to actually pull it all together. So, well, sort of relatively—it seemed like a while at the time, because everything seemed to take forever. But actually when you look at it, it all flowed together with amazing speed. -
The Evolution of Emo and Its Theoretical Implications 175
The Evolution of Emo and Its Theoretical Implications 175 Mirosław Aleksander Miernik The Evolution of Emo and Its Theoretical Implications The purpose of this article is to analyze how emo, a youth subculture, evolved in the United States during a period of approximately twenty five years, since the mid-1980s, particularly focusing on how it changed in regard to the zeitgeist of the time period, as well as how it appropriated various elements of past subcultures into itself in order to create its own subcultural identity. Special attention will be paid to the third incarnation, which emerged at the beginning of the twenty-first century and proved to be the most widespread variation of the subculture. It is also interesting how this incarnation was affected by historical events such as the Columbine High School Massacre and 9/11. The theoretical implications of emo are the second issue that this article at- tempts to tackle. In particular, when viewed from the perspective of post-subculture studies, it allows one to revisit certain theories of the Centre for Contemporary Cultural Studies at the University of Birmingham (CCCS), which pioneered sub- culture studies in the 1960s and 70s. The relationship between post-subculture studies and the CCCS’s approach has always been very complex. Even though many representatives of post-subculture studies criticized the CCCS for various shortcomings, most significantly for an a priori approach that ignores empirical evidence and limits the concept of authenticity within subcultures (Muggleton 19–30). At the same time, the work of the CCCS has been always treated with respect and considered a milestone. -
Punk Lyrics and Their Cultural and Ideological Background: a Literary Analysis
Punk Lyrics and their Cultural and Ideological Background: A Literary Analysis Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl-Franzens Universität Graz vorgelegt von Gerfried AMBROSCH am Institut für Anglistik Begutachter: A.o. Univ.-Prof. Mag. Dr. Hugo Keiper Graz, 2010 TABLE OF CONTENTS PREFACE 3 INTRODUCTION – What Is Punk? 5 1. ANARCHY IN THE UK 14 2. AMERICAN HARDCORE 26 2.1. STRAIGHT EDGE 44 2.2. THE NINETEEN-NINETIES AND EARLY TWOTHOUSANDS 46 3. THE IDEOLOGY OF PUNK 52 3.1. ANARCHY 53 3.2. THE DIY ETHIC 56 3.3. ANIMAL RIGHTS AND ECOLOGICAL CONCERNS 59 3.4. GENDER AND SEXUALITY 62 3.5. PUNKS AND SKINHEADS 65 4. ANALYSIS OF LYRICS 68 4.1. “PUNK IS DEAD” 70 4.2. “NO GODS, NO MASTERS” 75 4.3. “ARE THESE OUR LIVES?” 77 4.4. “NAME AND ADDRESS WITHHELD”/“SUPERBOWL PATRIOT XXXVI (ENTER THE MENDICANT)” 82 EPILOGUE 89 APPENDIX – Alphabetical Collection of Song Lyrics Mentioned or Cited 90 BIBLIOGRAPHY 117 2 PREFACE Being a punk musician and lyricist myself, I have been following the development of punk rock for a good 15 years now. You might say that punk has played a pivotal role in my life. Needless to say, I have also seen a great deal of media misrepresentation over the years. I completely agree with Craig O’Hara’s perception when he states in his fine introduction to American punk rock, self-explanatorily entitled The Philosophy of Punk: More than Noise, that “Punk has been characterized as a self-destructive, violence oriented fad [...] which had no real significance.” (1999: 43.) He quotes Larry Zbach of Maximum RockNRoll, one of the better known international punk fanzines1, who speaks of “repeated media distortion” which has lead to a situation wherein “more and more people adopt the appearance of Punk [but] have less and less of an idea of its content. -
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 History of American Punk Rock 1980 – 1986
THE HISTORY OF AMERICAN PUNK ROCK 1980 – 1986 A documentary film by Paul Rachman Inspired by the book American Hardcore: A Tribal History by Steven Blush A SONY PICTURES CLASSICS RELEASE East Coast Publicity: West Coast Publicity: Distributor: Falo Ink. Block Korenbrot Sony Pictures Classics Shannon Treusch Melody Korenbrot Carmelo Pirrone Betsy Rudnick Lisa Danna Angela Gresham 850 7th Ave, Suite 1005 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-445-7100 tel 323-634-7001 tel 212-833-8833 tel 212-445-0623 fax 323-634-7030 fax 212-833-8844 fax Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com SYNOPSIS Generally unheralded at the time, the early 1980s hardcore punk rock scene gave birth to much of the rock music and culture that followed. There would be no Nirvana, Beastie Boys or Red Hot Chili Peppers were it not for hardcore pioneers such as Black Flag, Bad Brains and Minor Threat. Hardcore was more than music—it was a social movement created by Reagan-era misfit kids. The participants constituted a tribe unto themselves—some finding a voice, others an escape in the hard-edged music. And while some sought a better world, others were just angry and wanted to raise hell. AMERICAN HARDCORE traces this lost subculture, from its early roots in 1980 to its extinction in 1986. Page 2 ABOUT THE PRODUCTION Paul Rachman and Steven Blush met through the hardcore punk rock scene in the early 1980s. Steven promoted shows in Washington, DC, and Paul directed the first music videos for bands like Bad Brains and Gang Green. -
16Th Annual Silent Auction & Benefit Party Auction Artworks
16th Annual Silent Auction & Benefit Party Auction Artworks Preview Catalog - as of 10.1.19 1404 P Street NW Washington, DC 20005 | 202.483.1102 | transformerdc.org | @transformerdc Featured German Artists Preview Catalog - as of 10.11.19 1404 P Street NW Washington, DC 20005 | 202.483.1102 | transformerdc.org | @transformerdc For Internal Use Only - as of 10.11.19 Featured Artists Preview Catalog - as of 10.11.19 1404 P Street NW Washington, DC 20005 | 202.483.1102 | transformerdc.org | @transformerdc Monica Jahan Bose Anahita Bradberry Tacy Bradbury Hawa (Wind) Leisure Grace 2013, woodblock print, graphite 2019, argon, glass, transformer, 2019, embroidery, mixed media and watercolor on handmade cot- wire, silicone caps. 24” x 24”’ ton paper 14” x 11” x 8” Retail Value: $2,000 36” x 22” Retail Value: $500 Starting Bid: $700 Retail Value: $1,200 Starting Bid: $375 Bidding Increment:$50 Starting Bid: $600 Bidding Increment:$50 Bidding Increment:$50 Nakeya Brown Antonius Bui Thomas Bunnell Self Portrait in Shower Cap the leavers No Man’s Land 2015, archival inkjet print 2018, digital print 2018, oil on canvas 16” x 20” 20”x16” 16” x 22” edition 3 of 3 edition 1 of 5 Retail Value: $800 Retail Value: $2,000 Retail Value: $375 Starting Bid: $100 Starting Bid: $950 Starting Bid: $75 Bidding Increment:$25 Bidding Increment:$50 Bidding Increment:$25 Wilson Butterworth Gerardo Camargo Jessica Cebra douthat Survivors Bit rot No.1 2018, photograph 2017, hand cut cotton paper on 2019, collage on paper 24” x 16” found used sand paper, and glitter 9” -
Ross Haenfler
Ross Haenfler I'm a person just like you. But I've got better things to do. Than sit around and fuck my head. Hang out with the living dead. Snort white shit up my nose. Pass out at the shows. I don't even think about speed. That's something I just don't need. I've got the straight edge. I'm a person just like you. But I've got better things to do. Than sit around and smoke dope. 'Cause I know I can cope. Laugh at the thought of eating ‘ludes. Laugh at the thought of sniffing glue. Always gonna keep in touch. Never want to use a crutch. I've got the straight edge. I've got the straight edge. I've got the straight edge. I've got the straight edge. Minor Threat, Straight Edge, 1981 From Punk Rock to Straight Edge – Origins, context, and initial significance of ‘Straight Edge’ No one could have predicted that Minor Threat’s 46-second song, published in 1981, would spawn a worldwide movement of clean- living youth that still resonates over thirty years later. In fact, the idea that not smoking, drinking, doing drugs, and having casual sex would appeal to youth must have seemed preposterous -------- 1 Chapter originally published by Ross Haenfler in the book: “Straight Edge – Minor Threat.” In Rebel Music: Resistance Through Hip Hop and Punk, Priya Parmar, Anthony J. Nocella II, Scott Robertson, and Martha Diaz, eds, 2015, Charlotte, NC: Information Age Publishers. 50 Minor Threat & ‘Straight Edge’ following the hedonistic hippie and disco scenes of the ‘60 and ‘70s. -
Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83) * David B
Volume 21, Number 1, March 2015 Copyright © 2015 Society for Music Theory Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83) * David B. Easley NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.15.21.1/mto.15.21.1.easley.php KEYWORDS: punk rock, hardcore, genre, popular music, riff, repetition, form, musical meaning, Bad Brains, Black Flag, Dead Kennedys, Minor Threat ABSTRACT: This article explores the structures of guitar riffs in early American hardcore punk rock and their role in the creation of meaning within the genre. Drawing upon a corpus analysis of recordings by Bad Brains, Black Flag, Dead Kennedys, and Minor Threat, the article begins by outlining the main ways in which guitar riffs are structured. Many reflect a structural basis in what I call “riff schemes,” organizing patterns of physical repetition and physical change made by a guitarist’s fretting hand. There are four main types, which are defined by the location of repetition within the riff (at the beginning or at the end) and whether the type of repetition is exact or altered: (1) Initial Repetition and Contrast, (2) Statement and Terminal Repetition, (3) Statement and Terminal Alteration, and (4) Model and Sequential Repetition. These schemes may also play an expressive role in song narratives of energy, intensity, and aggression, all of which are common tropes in oral histories of hardcore. In the final part of the article, I present analyses of two songs that demonstrate this use: Minor Threat’s “Straight Edge” and Black Flag’s “Rise Above.” Received July 2014 Introduction [1.1] American hardcore punk rock—or simply “hardcore”—is a subgenre of punk that first emerged in the late 1970s as a response to the “punk rock revolution” created by bands such as the Sex Pistols and the Ramones ( Blush 2010 , 14). -
Exploring Dress and Behavior of the Emo Subculture Kaci Schmitt Kennesaw State University
Kennesaw State University DigitalCommons@Kennesaw State University Dissertations, Theses and Capstone Projects Summer 2011 Exploring Dress and Behavior of the Emo Subculture Kaci Schmitt Kennesaw State University Follow this and additional works at: http://digitalcommons.kennesaw.edu/etd Part of the American Popular Culture Commons Recommended Citation Schmitt, Kaci, "Exploring Dress and Behavior of the Emo Subculture" (2011). Dissertations, Theses and Capstone Projects. Paper 465. This Thesis is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Dissertations, Theses and Capstone Projects by an authorized administrator of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Schmitt 1 Exploring Dress and Behavior of the Emo Subculture A Thesis Presented To The Academic Faculty By Kaci Schmitt In Partial Fulfillment Of the Requirements for the Degree Master of Arts in American Studies Kennesaw State University August 2011 Kennesaw State University Master ofArts in American Studies Notice ofCapstone Project Completion Student name: f(Gc,,1 ScJ1YYlrn- SemesterNear ofgraduation: Sum m-t~ LOll Degree Program: MA in American Studies 0 Title ofthesis/project: ~\ ~'I \(tg Dr-eS~ QY\d &nQv1 V- of--the... tTLA~W1UYe.. Date oforal defense: (Aug, \I 2011 Thesis/Project comm' tee approval ofthesis/project and oral defense: fJ£/20// Dat S.. /--dO 1/ Date ' Date Original to Registrar Copy to student's file Copy to MAST office