And Other Twisted Tales of Adolescent Femininity. Natalie Guice Adams Louisiana State University and Agricultural & Mechanical College

Total Page:16

File Type:pdf, Size:1020Kb

And Other Twisted Tales of Adolescent Femininity. Natalie Guice Adams Louisiana State University and Agricultural & Mechanical College Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1994 "A Proper Little Lady" and Other Twisted Tales of Adolescent Femininity. Natalie Guice Adams Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Adams, Natalie Guice, ""A Proper Little Lady" and Other Twisted Tales of Adolescent Femininity." (1994). LSU Historical Dissertations and Theses. 5771. https://digitalcommons.lsu.edu/gradschool_disstheses/5771 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. Hie quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road.Ann Arbor. Ml 48106-1346 USA 313-761-4700 800'521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Order Number 9508544 “A Proper Little Lady” and other twisted tales of adolescent fem ininity Adams, Natalie Guice, Ph.D. The Louisiana State University and Agricultural and Mechanical CoL, 1994 Copyright ©1995 by Adams, Natalie Guice. A ll rights reserved. 300 N. Zeeb Rd. Ann Arbor. Ml 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. "A PROPER LITTLE LADY" AND OTHER TWISTED TALES OF ADOLESCENT FEMININITY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Curriculum and Instruction by Natalie G. Adams B.S., Louisiana Scate University, 1384 M.Ed., University of Southwestern Louisiana, 1988 August 1994 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DEDICATION To my grandmother, Georgia Mott Guice, and my great-aunt, Rebecca Moore Guice, who helped me to see beyond stereotypical Southern womanhood. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS Although this dissertation bears my name as the sole author, in reality, this work has been a collaborative effort among many people. To these people I wish to express my sincere gratitude. I am eternally grateful for my mother and father, John and Bonnie Guice, and their unconditional love, support, and guidance. They remain the constant in my all too often chaotic life. To my children, Hunter, Rebecca, and Chris, I thank them for their patience in having an absent and often crazy mother. They are the true joys of my life. To my husband, Jim, words fall short in expressing how thankful I am for his encouragement and constant love. He is truly the music of my life. I also want to sincerely express my gratitude to the members of my doctoral committee - Dr. Petra Munro, Dr. Mary-Ellen Jacobs, Dr. David England, Dr. Gary Rice, Dr. Miles Richardson, and Dr. Gregory Stone - for their academic and professional guidance. To Dr. Munro, my friend, mentor, and major advisor, I want to express a special thanks for the many, many hours she spent reading and critiquing the numerous drafts of this paper and, more importantly, providing the emotional support that got me through this process. To Dr. Jacobs, I also want to express my sincere gratitude for not only her academic support but also for her humor and friendship. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. To the rest of my friends and family, I wish simply to say "thanks" for doing the million small things that made this dissertation a reality. iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Acknowledgements ........................................ iii A b s t r a c t ................................................. viii Chapter One - Learning the "Truth" ...................... 1 Recreating Tales of Adolescent Femininity ......... 4 Tale O n e ......................................... 4 Tale T w o ......................................... 7 Tale T h r e e ....................................... 8 Tale F o u r ........................................ 10 Tale F i v e ........................................ 13 Chapter Two - Tales of a Feminist Ethnographer1 .... 17 Truth and Representation in Ethnographic Research 22 Realist Ethnography .......................... 22 Interpretative Ethnography .................. 23 Experimental Ethnography .................... 25 Feminist Ethnography ........................ 26 Tales of the Field ....................................28 Story One: Conducting Ethnographic Research 29 Story Two: Revisiting Ethnographic Research 37 Chapter Three - Finding a Place in Theory ............. 56 Cautionary Tales from a Feminist Perspective . 57 Critical Pedagogy .......................... 58 Feminist Theory and Southern Womanhood . 66 Feminist Poststructuralism ................. 72 Chapter Four - A Tale Twice Told: Multiple Discourses of Adolescence ana Femininity 7 9 Tale One: Adolescence as a Masculine Story . 80 Schooling and Adolescents .................... 81 Tale Two: Gender and the Construction of Adolescence 8 6 Theories of Gender Identity ...................... 92 Biological Essentialism ...................... 94 Psychoanalytic Theories of Gender Identity . 97 Social Construction of Gender ............... 101 Gender Identity and the Regulation of the B o d y ......................................... 103 Black Women and the Construction of Identity 107 Gender as Everyday Performance .................... 113 Chapter Five - Becoming No/Body: School Culture and Gender Identity ................................ 116 "Everyone's Equal Here" .......................... 120 "You Can't Mix Away from School with School" 121 "Adolescence is a D i s e a s e " ................... 129 "Everyone, Even Girls, Can Try Out for the Football Team" ............................... 135 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Gender Makes All the Difference ................. 139 The Control of Bodies in School ............. 13 9 "A Proper Little Lady" ...................... 14 6 "Never Getting It Right" .......................... 153 Being Nobody ......................................... 157 Chapter Six - Gangsters, Cowboys, Goddesses, Good Women: Exploring/Exploding the Myths of Femininity ....................................... 159 Metaphors of Femininity .......................... 162 Rapunzel and Scarlett: The Myths of Southern W o m a n h o o d ....................................152 The Rough and Tough C o w b o y ................... 164 The Gangster ........................'..... 170 The Good W o m a n ............................... 181 The Natural Goddess .......................... 190 Exploding the Myths of Femininity ............... 197 Chapter Seven - Fighting to Be Somebody: Resisting Erasure and the Discursive Practices of Female Adolescent "Fighting" ............................. 201 Reading Fighting as a Masculine Metaphor ......... 204 "Fighting to be Some/Body" ................... 204 "Fighting Like a M a n " ..........................209 Fighting to Be One of the B o y s ? ......................................... 213 The Feminization of F i g h t i n g ........................220 Fighting for Connection ...................... 220 Fighting to Be a Lady 224 Fighting as a T e x t ................................. 229 Chapter Eight - Unlearning the "Truth" ............... 231 Unlearning the Truth about Gender................... 233 The Interplay Between the Dominant Discourse of Femininity and Lived Experience ............
Recommended publications
  • 1 Breakfast at Tiffany's Truman Capote, 1958 I Am Always Drawn Back To
    1 Breakfast at Tiffany's surrounded by photographs of ice-hockey stars, there is always a large bowl of fresh Truman Capote, 1958 flowers that Joe Bell himself arranges with matronly care. That is what he was doing when I came in. I am always drawn back to places where I have lived, the houses and their "Naturally," he said, rooting a gladiola deep into the bowl, "naturally I wouldn't have neighborhoods. For instance, there is a brownstone in the East Seventies where, got you over here if it wasn't I wanted your opinion. It's peculiar. A very peculiar thing during the early years of the war, I had my first New York apartment. It was one room has happened." crowded with attic furniture, a sofa and fat chairs upholstered in that itchy, particular red "You heard from Holly?" velvet that one associates with hot days on a tram. The walls were stucco, and a color He fingered a leaf, as though uncertain of how to answer. A small man with a fine rather like tobacco-spit. Everywhere, in the bathroom too, there were prints of Roman head of coarse white hair, he has a bony, sloping face better suited to someone far ruins freckled brown with age. The single window looked out on a fire escape. Even so, taller; his complexion seems permanently sunburned: now it grew even redder. "I can't my spirits heightened whenever I felt in my pocket the key to this apartment; with all its say exactly heard from her. I mean, I don't know.
    [Show full text]
  • Camper Guidebook 2009.Indd
    Delta Girls Rock Camp Guidebook Delta Girls Rock Camp Guidebook CAMP SCHEDULE Monday, July 27, 2009 – Friday, July 31, 2009 8:30 -9:00 Registration Dobbs Commons 9:00 – 9:15 Morning Kick Off Chapel Morning Performers To open your mind and see the world through a different lens. To open yourself to change and discovery. 9:20-11:30 Instrument Instruction Dobbs Center* To open your potential. 11:30-12:00 Lunch Dining Hall Since its inception in 2004, Hutchison’s Arts Academy’s mission 12:10-12:45 Lunchbox Series LIVE! Wiener Theater has been to awaken the unique creative voice in each student to steer them toward a lifelong path of artistic enrichment and cre- 1:00- 2:00 Songwriting/Herstory Workshop Wiener Theater/ ative growth. (M, W, F) Labry Hall 1:00- 2:00 DIY Arts and Crafts Workshop Dobbs Center* A focus on the arts is central to our school which is dedicated to (T, Th) the parallel growth of mind, body, and spirit as it educates young women for success in college and for lives of integrity and respon- 2:00-5:00 Band Practice Dobbs Center* sible citizenship. 5:00-5:15 Afternoon Wrap-Up I am delighted to welcome you to the Delta Girls Rock Camp ex- Equipment Inventory perience, part of the Center’s Mary Miles Loveless Arts Academy. 5:15-5:30 Camper Pick Up Welcome to Hutchison’s campus. I hope this enriching week helps you hone your unique creative voice! Please let the Center for 5:30-6:30 Graduation & Reception Dining Hall Excellence staff and Rock Camp directors know how we can make (Friday) this the best week of your summer.
    [Show full text]
  • Black Girls Coming of Age: Sexuality and Segregation in New Orleans, 1930-1954
    Black Girls Coming of Age: Sexuality and Segregation in New Orleans, 1930-1954 by Lakisha Michelle Simmons A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History and Women's Studies) in The University of Michigan 2009 Doctoral Committee: Assistant Professor Hannah Rosen, Co-Chair Associate Professor Michele Mitchell, New York University, Co-Chair Professor Mary C. Kelley Professor Penny M. Von Eschen Associate Professor Jonathan M. Metzl ©Lakisha Michelle Simmons 2009 I dedicate this to my mother and to those who lost their lives as a result of Hurricane Katrina. ii Acknowledgements My first research trip to New Orleans was in the summer of 2002—when I conducted research for my undergraduate thesis. After that first trip, I have not been able to leave the city. This particular project began in New Orleans, Louisiana in 2005—the same summer as Hurricane Katrina. Before and after the storm, everyone I came across in New Orleans has been kind, open and giving. I love the city and I hope my love for New Orleans shows in my writing. Lolita Villavasso Cherrie is one of the people that have made New Orleans feel like a home to me. She has been my friend and my guide to the history of New Orleans. Her knowledge of New Orleans is deep and she has an unending curiosity about history. This project would not be half as good without her insight, intelligence, help and source material. I would also like to thank the members of LA Creole History and Genealogy Society, especially Jari Honora, a talented future historian and my research assistant.
    [Show full text]
  • Southern Music and the Seamier Side of the Rural South Cecil Kirk Hutson Iowa State University
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1995 The ad rker side of Dixie: southern music and the seamier side of the rural South Cecil Kirk Hutson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Folklore Commons, Music Commons, Social and Cultural Anthropology Commons, and the United States History Commons Recommended Citation Hutson, Cecil Kirk, "The ad rker side of Dixie: southern music and the seamier side of the rural South " (1995). Retrospective Theses and Dissertations. 10912. https://lib.dr.iastate.edu/rtd/10912 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthiough, substandard margins, and improper alignment can adversely affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.
    [Show full text]
  • The Window, 1918
    National Louis University Digital Commons@NLU Yearbooks Archives and Special Collections 1918 The indoW w, 1918 National Kindergarten and Elementary College Follow this and additional works at: https://digitalcommons.nl.edu/yearbooks Part of the Higher Education Commons Recommended Citation College, National Kindergarten and Elementary, "The indoW w, 1918" (1918). Yearbooks. 77. https://digitalcommons.nl.edu/yearbooks/77 This Book is brought to you for free and open access by the Archives and Special Collections at Digital Commons@NLU. It has been accepted for inclusion in Yearbooks by an authorized administrator of Digital Commons@NLU. For more information, please contact [email protected]. 7 / 4 Digitized by the Internet Archive in 2014 https://archive.org/details/window3191nati ''Friendship is the only thing in the world concerning the usefulness of which all mankind are agreed.' —CICERO. — THE WINDOW VOLUME THREE OF THE YEAR BOOK OF THE NATIONAL KINDERGARTEN AND ELEMENTARY COLLEGE NINETEEN HUNDRED EIGHTEEN TO MISS HARRISON AND MISS BAKEK WHOSE LIVES WILL EVER BE AN INSPIRATION TO THE GIRLS OF N. K. E. C. THIS BOOK IS LOVINGLY DEDICATED A Toast ,.t> i t- N 1 — — 1 1/ / \— x £ i pi-'i- r. r r —fc—* r- * \\ ; —. «>• mh —— ; j -A - If r tl f ; 1 8 — FOREWORD ]HE WINDOW-the symbol of our profession, which bids us look in upon our individual lives and tune them into har^ mony with the big universal life outside, so that we may draw little children also to the open window and reveal to them the glory and beauty of the world. This is the message of The Window our College Annual.
    [Show full text]
  • Surrender by Cheap Trick Free Download
    Surrender by cheap trick free download Surrender. Artist: Cheap Trick. MB Surrender. Artist: Cheap Trick. MB. ( MB) Stream and Download song Surrender by United States artist Cheap Trick on Dawn Foxes Music - Watch the video, get the download or listen to Cheap Trick – Surrender for free. Surrender appears on the album At Budokan. Discover more music, gig and. Free Cheap Trick Surrender Lyrics mp3. Kbps MB 5K. Play · Download. Cheap Trick Surrender Lyric Video mp3. Free Cheap Trick Surrender. Download. Cheap Trick Surrender Live Daytona mp3. Free Cheap Trick Surrender Live Daytona mp3. Kbps MB Play. Surrender. Cheap Trick - Greatest Hits • MB • K plays. Surrender. Cheap Trick - Yokohama D2 • MB • K plays. Download mp3 music: Cheap Trick - Surrender. Cheap Trick - Surrender. Download. Cheap Trick - Surrender. Download. CHEAP TRICK. Download Cheap Trick Surrender free midi and other Cheap Trick free midi. Cheap Trick will release an update of their '70s power-pop cut "Surrender" in the song, will be available for free download through April Since the Australian star-gazer spends an average of 20 hours a week looking at the fifth planet, he. Posted by res ipsa loquitur at of mp3 minimalist shoes to. Gutiar Pro Tab "Surrender" from Cheap Trick band is free to download. Tablature file Cheap Trick - Surrender opens by means of the Guitar PRO program. Rock and Roll Hall of Fame inductees CHEAP TRICK. Rockford, IL. cheaptrick. Free mp3 download of the Surrender mariachi mashup! Switch browsers or download Spotify for your desktop. Surrender. By Cheap Trick. • 1 song, Play on Spotify. 1. Surrender. Featured on.
    [Show full text]
  • Southern Silence and Sexual Violence: a Memoir and Cultural Analysis
    Southern Silence and Sexual Violence: A Memoir and Cultural Analysis Alexandria K. Selman Faculty Advisor: Dr. Amy Laura Hall Duke Divinity School April 2019 This project was submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate Liberal Studies Program in the Graduate School of Duke University. Copyright by Alexandria K. Selman 2019 Abstract Southerners can easily be picked out by their thick accents and their choice of rhetoric, such as “Hey, Ya’ll” and “Bless your heart.” My southern rhetoric is more than the reason why I stand out in most crowds, but is the foundation of who I am, how I think, and how I navigate the world around me. As a native of rural Alabama, I grew up in a world of etiquette, red dirt, and gender roles. The experiences I share are those of upper-middle-class, white sorority women in Alabama who were the product of the South’s cultural silencing. The pervasive gender differences made between boys and girls by southern culture and the education system, has helped the ideology of sacred womanhood live on. This ideology leads women to believe their task in life is to remain clean of sexual impurity and be subservient to men. This submissive stance has affected the way these women communicate sexual violence and in turn deal with its long-term effects. This is a glimpse at the balancing act that is being a southerner, a woman, and a survivor. This work, nor my journey, is complete, but rather a work in progress.
    [Show full text]
  • Cheap Trick in Color Steve Albini Free Download HENRY KRINKLE's HOUSE of SOUND
    cheap trick in color steve albini free download HENRY KRINKLE'S HOUSE OF SOUND. A rest home for commercially unavailable jazz, funk, hip-hop, rock, punk, or anything else that sounds good. June 26, 2008. Cheap Trick: In Color 1997 (Steve Albini Sessions) In Color 1997 - Steve Albini Sessions : a good bit of info on this album available HERE (from that page) On the radio show "Rockline" in 2003, someone called in and asked the band for the history behind the rumored Steve Albini version of the "In Color" disc, and Bun E. Carlos gave the explanation. The "In Color" album was produced by Tom Werman, but the band always felt that Werman screwed up the album. "He made it safe for radio, but the album sounds like it was done in a cardboard box." So in the late 1990s they were in the studio hanging around with the producer Steve Albini, and had nothing to do for a few days, so they said "Yeah, that would be fun to redo that." So they started re-recording the songs. They Did not finish the album, not all the harmonies or instruments are on it yet, but it can be found on the internet. It includes two versions each of "I Want You to Want Me" and "Oh Caroline" as well as a cover of John Lennon's "I'm Losing You." 01 - Hello There 02 - Big Eyes 03 - Downed 04 - I Want You to Want Me 05 - You're All Talk 06 - Oh Caroline 07 - Clock Strikes Ten 08 - Southern Girls 09 - Come On, Come On 10 - So Good to See You 11 - Fan Club 12 - I Want You to Want Me (alternate) 13 - Can't Hold On 14 - I'm Losing You 15 - Oh Caroline (alternate) Posted by Henry Krinkle at 1:35 PM 2 comments: I post here cause i don't find your contact anywhere.
    [Show full text]
  • Cheap Trick in Color Mp3, Flac, Wma
    Cheap Trick In Color mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: In Color Country: Japan Released: 1990 Style: Power Pop, Pop Rock, Hard Rock MP3 version RAR size: 1888 mb FLAC version RAR size: 1536 mb WMA version RAR size: 1747 mb Rating: 4.7 Votes: 303 Other Formats: AC3 AAC DMF MP3 DTS VOC RA Tracklist Hide Credits Hello There 1 1:39 Written-By – R. Nielsen* Big Eyes 2 3:04 Written-By – R. Nielsen* Downed 3 4:06 Written-By – R. Nielsen* I Want You To Want Me 4 3:09 Written-By – R. Nielsen* You're All Talk 5 3:31 Written-By – R. Nielsen*, T. Petersson* Oh Caroline 6 2:56 Written-By – R. Nielsen* Clock Strikes Ten 7 2:57 Written-By – R. Nielsen* Southern Girls 8 3:40 Written-By – R. Nielsen*, T. Petersson* Come On, Come On 9 2:36 Written-By – R. Nielsen* So Good To See You 10 3:34 Written-By – R. Nielsen* Companies, etc. Record Company – Epic/Sony Records Phonographic Copyright (p) – CBS Inc. Copyright (c) – CBS Inc. Recorded At – Kendun Recorders Mixed At – Westlake Audio Mastered At – Sterling Sound Manufactured By – CBS/Sony Group Inc. Credits Bass, Vocals – Tom Petersson Design – Jim Charne, Paula Scher Drums – Bun E. Carlos Engineer – Antonino Reale* Lead Guitar, Vocals – Rick Nielsen Lead Vocals, Rhythm Guitar – Robin Zander Management [PM] – Ken Adamany Mastered By – George Marino Photography By – Benno Friedman Producer – Tom Werman Notes Recorded at Kendun Recorders, Los Angeles. Mixed at Westlake Audio, Los Angeles. Mastered at Sterling Sound, New York.
    [Show full text]
  • Letters to Cleo I Want You to Want Me Album
    Letters to cleo i want you to want me album Continue Not to be confused with I Want You (Cheap Trick Song). I Want You to Want MeEpic 50435Single by Cheap Trickfrom album In ColorB-sideOh Boy (instrumental version)ReleasedSeptember 1977 (1977-09)Recorded 1977StudioKendun Recorders, Los AngelesGenrePower pop[1]Length3:07LabelEpicSongwriter(s)Rick NielsenProducter(s) Tom WehrmanCheap Stunt Singles Timeline Oh, Candy (1977) I Want You to Want Me (1977) Southern Girls (1977) I Want to make you want meEpic 50680Single cheap trickfrom album Cheap Trick on the side of BudokanBClock Strikes TenRel releasedApril 1979 (1979-04)RecordedApril 1978VenueNippon Budokan, TokyoGenreHard rock, power popLeng th3:38LabelEpicSongwriter(s)Rick NielsenProducer(s)Cheap TrickCheap Trick singles timeline California Man (1978) I Want You to Want Me (1979) Ain't That a Shame (1979) I Want You to Want Me is a song by american band Cheap Trick. It was originally from their second album, In Color, released in September 1977. It was the first single released from this album, but it wasn't charted in the United States. I Want You To Want Me was the number one single in Japan. [2] [3] [a better source is needed] His success in Japan, as well as the success of his previous single Clock Strikes Ten paved the way for Cheap Trick concerts at Nippon Budokan in Tokyo in April 1978, which were recorded for the band's most popular album Cheap Trick in Budokan. A live version of I Want You to Want Me from cheap trick at Budokan was released in 1979 and became their biggest selling single, reaching #7 on the Billboard Hot 100.
    [Show full text]
  • Breaking out in 1978: Rick Nielsen, Bun E. Carlos, Tom Petersson, and Robin Zander (Clockwise from Top)
    Breaking out in 1978: Rick Nielsen, Bun E. Carlos, Tom Petersson, and Robin Zander (clockwise from top) 18 PERFORMERS Cheap The group effectively combines rock chops, tuneful power pop, Tricksarcasm, humility, and showmanship. BY IRA ROBBINS t’s the start of 1977, my early days as a rock writer, and I’m up in Black Rock, visiting one of the few label guys who’ll take my calls. A devout fan of Marc Bolan, David Bowie, and Jim Morrison, he Iabsolutely loathes the Who, so we’ve agreed to disagree about that. He pulls out a white label of Cheap Trick, which Epic is weeks away from releasing. “Listen,” he says, exuding real conviction – no mean feat for a man who is as sardonic as they come. “These guys are great. They’re gonna be enormous.” I’m pretty dubious about main- stream American rock & roll, at least as represented in the hallway outside by posters of Ted Nugent, Kansas, Wild Cherry, and Meat Loaf, but I try not to roll my eyes. 19 He puts the record on, guitars and drums roar to life, and animation and spirited irreverence as the new wavers. The I’m in love. So much for Anglophilia. Here was a band group cut a colorful swath through the land of the dino- from the heartland that answered all my dreams: loud, saurs, high-power proof that rock writ large enough for fero ciously energetic, original, funny, melodic, indefinable. stadiums didn’t have to be preening, cocky, bombastic, or Singing about things few others with commercial aspira- self-important.
    [Show full text]
  • Tinted Windows' Bun E. Carlos
    Festivo I euffiifriiEd wi n,iiifriliT-i. Yeo r's Bo mboozle @ Iwl I mer Sib I to shine I tnut Hr, I rock anl | 0f Mind I tunes 0l I Boston lwt I rhythm I album I I multi0lt | 0rums \ I album v I Secondr I leoacv, I orurt I tne nan I The I ti*r u, I with Jo I Boston Ll'* #sffi##tr# t way you otten bash out half notes 0n the cym- lonrglrtproducerl Tom Werman' he the llffi been IhenlHeaven pat- the mr efore the term power pophad even bals and'how you'll double an Bth-note hi-hat want more licks We'd sit there and argue: I Keith Moon was esta0- would ihe snare may ni coined, the Who's ;i a lick tern by dragging along on m not Ooing a lick therel" "You needto do I guidelines for the genre's future cymnat wasn would fill in all the holes lace 0l lJ tisning . me to do a lick going Bun: ihe I of serving Pete- therel" He finllly convinced with Keith M00n bandsl drLrmmers r,iit-n nis spastic manner thought for a three-piece l noticed that I into the chorus.'There was probably more He wasn't bashful about get- snare drum I got from the-Dave tamilia Townshend's songs of the stuff I do The riding on the I at the put into those tills than some "Bits was,Bt tino his licks in, or about hammering away Clark Five, things like "Glad All Over" and these daYS.
    [Show full text]