Lexicon Devil: the Short Life and Fast Times of Darby Crash and the Germs Pdf, Epub, Ebook
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
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. -
The Direct Action Politics of US Punk Collectives
DIY Democracy 23 DIY Democracy: The Direct Action Politics of U.S. Punk Collectives Dawson Barrett Somewhere between the distanced slogans and abstract calls to arms, we . discovered through Gilman a way to give our politics some application in our actual lives. Mike K., 924 Gilman Street One of the ideas behind ABC is breaking down the barriers between bands and people and making everyone equal. There is no Us and Them. Chris Boarts-Larson, ABC No Rio Kurt Cobain once told an interviewer, “punk rock should mean freedom.”1 The Nirvana singer was arguing that punk, as an idea, had the potential to tran- scend the boundaries of any particular sound or style, allowing musicians an enormous degree of artistic autonomy. But while punk music has often served as a platform for creative expression and symbolic protest, its libratory potential stems from a more fundamental source. Punk, at its core, is a form of direct action. Instead of petitioning the powerful for inclusion, the punk movement has built its own elaborate network of counter-institutions, including music venues, media, record labels, and distributors. These structures have operated most notably as cultural and economic alternatives to the corporate entertainment industry, and, as such, they should also be understood as sites of resistance to the privatizing 0026-3079/2013/5202-023$2.50/0 American Studies, 52:2 (2013): 23-42 23 24 Dawson Barrett agenda of neo-liberalism. For although certain elements of punk have occasion- ally proven marketable on a large scale, the movement itself has been an intense thirty-year struggle to maintain autonomous cultural spaces.2 When punk emerged in the mid-1970s, it quickly became a subject of in- terest to activists and scholars who saw in it the potential seeds of a new social movement. -
Produced Byray Manzarek
PRODUCED BY RAY MANZAREK Originally released April 1980 Originally released May 1981 Originally released July 1982 Originally released September 1983 Frank Gargani Debbie Leavitt Power... Passion... Poetry! Attack the world. Let’s do some damage. What a band. Four monsters of skin. My favorite rockers of the then time. John Doe - Mr. Handsome - of the deep rich voice, the hard, strong jaw, the angular bass stance and the hot/cool lyrics. Their harmonies - some would say Schoenberg - his partner Exene, of the wailing scream in the night, the clear eyed pinning of American failings, the fine words of Diana Bonebrake love and booze and madness in the midnight dawn of Los Angeles. “Johny Hit and Run Paulene...” and he’s got a sterilized hypo filled with a sex-machine drug, and he only has 24 hours to shoot all Paulenes between the legs. So get busy, boy. And he does. Listen to those words! That naughty, naughty Johny. I love ‘em. And Exene’s “The World’s a Mess, it’s in My Kiss.” I just love that crazy combination: World - Mess - Kiss. And Billy Zoom on guitar, or is that at least 3 or 4 guitars. How does he do it? It’s so massive, so sharp, so bright, so fucking LOUD!!! And he is so silver smooth and cool. Effortless fingering, impeccable on the frets. Doesn’t he ever make a mistake? Is he a flesh and blood Valhalla guitar god? Yeahhh! And who is that madman beating the living shit out those drums? Ladies and Gentleman... D. -
California Noise: Tinkering with Hardcore and Heavy Metal in Southern California Steve Waksman
ABSTRACT Tinkering has long figured prominently in the history of the electric guitar. During the late 1970s and early 1980s, two guitarists based in the burgeoning Southern California hard rock scene adapted technological tinkering to their musical endeavors. Edward Van Halen, lead guitarist for Van Halen, became the most celebrated rock guitar virtuoso of the 1980s, but was just as noted amongst guitar aficionados for his tinkering with the electric guitar, designing his own instruments out of the remains of guitars that he had dismembered in his own workshop. Greg Ginn, guitarist for Black Flag, ran his own amateur radio supply shop before forming the band, and named his noted independent record label, SST, after the solid state transistors that he used in his own tinkering. This paper explores the ways in which music-based tinkering played a part in the construction of virtuosity around the figure of Van Halen, and the definition of artistic ‘independence’ for the more confrontational Black Flag. It further posits that tinkering in popular music cuts across musical genres, and joins music to broader cultural currents around technology, such as technological enthusiasm, the do-it-yourself (DIY) ethos, and the use of technology for the purposes of fortifying masculinity. Keywords do-it-yourself, electric guitar, masculinity, popular music, technology, sound California Noise: Tinkering with Hardcore and Heavy Metal in Southern California Steve Waksman Tinkering has long been a part of the history of the electric guitar. Indeed, much of the work of electric guitar design, from refinements in body shape to alterations in electronics, could be loosely classified as tinkering. -
The Life Artistic: July / August 2016 Wes Anderson + Mark Mothersbaugh
11610 EUCLID AEUE, CLEELAD, 44106 THE LIFE ARTISTIC: JULY / AUGUST 2016 WES ANDERSON + MARK MOTHERSBAUGH July and August 2016 programming has been generously sponsored by TE LIFE AUATIC ... AUATIC TE LIFE 4 FILMS! ALL 35MM PRINTS! JULY 7-29, 2016 THE CLEVELAND INSTITUTE OF ART CINEMATHEQUE 11610 EUCLID AVENUE, UNIVERSITY CIRCLE, CLEVELAND OHIO 44106 The Cleveland Institute of Art Cinematheque is Cleveland’s alternative film theater. Founded in 1986, the Cinematheque presents movies in CIA’s Peter B. Lewis Theater at 11610 Euclid Avenue in the Uptown district of University Circle. This new, 300-seat theater is equipped with a 4K digital cinema projector, two 35mm film projectors, and 7.1 Dolby Digital sound. Free, lighted parking for filmgoers is currently available in two CIA lots located off E. 117th Street: Lot 73 and the Annex Lot. (Those requiring disability park- ing should use Lot 73.) Enter the building through Entrance C (which faces E. 117th) or Entrance E (which faces E. 115th). Unless noted, admission to each screening is $10; Cinematheque members, CIA and Cleveland State University I.D. holders, and those age 25 & under $7. A second film on LOCATION OF THE the same day generally costs $7. For further information, visit PETER B. LEWIS THEATER (PBL) cia.edu/cinematheque, call (216) 421-7450, or send an email BLACK IL to [email protected]. Smoking is not permitted in the Institute. TH EACH FILM $10 • MEMBERS, CIA, AGE 25 & UNDER $7 • ADDITIONAL FILM ON SAME DAY $7 OUR 30 ANNIVERSARY! FREE LIGHTED PARKING • TEL 216.421.7450 • CIA.EDU/CINEMATHEQUE BLOOD SIMPLE TIKKU INGTON TE LIFE ATISTIC: C I N E M A T A L K ES ADES AK TESBAU ul 72 (4 lms) obody creates cinematic universes like es Anderson. -
Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing. -
Gays Protest Mercury Over Editorial Policy
PZ SPARTAN DAILY 1) Vol. 98, No. 15 Published for San lose State University since 1934 Friday, February 14, 1992 Gays protest Mercury over editorial policy By John Perez official form and when we sent it into them, She would not comment further on the pol- received their answer. GLAAD. Daily staff writer they originally said nothing, only that it would icy. "(Tony) Ridder wrote back to us and said "The subject had to be let go because of our High noon, the time of gun-fights, will be be at their discretion whether they would run "After being turned down by Ann, we asked that the company doesn't interfere in the edito- lack of resources but it was brought back to the time for a shoot-out between GLAAD the picture with it or not. for her superior and she referred us to the pub- rial decisions of their local papers and that we our attention later on." (Gay Lesbian Alliance Against Defamation) "After hearing nothing for a while, we lisher of the paper, Larry links," Bonine said. would have to talk to the publisher of the "We went through the same steps that Mark and the San Jose Mercury News. received a letter from the Mercury saying that The response from links was the same. Mercury News, Larry links." Bonine said. and Scott went through and got the smite A protest will be held today in front of the our request to have the announcement printed "Jinks said in his letter that the Mercury "I have never talked to the press before," answer. -
A Denial the Death of Kurt Cobain the Seattle Police Department
A Denial The Death of Kurt Cobain The Seattle Police Department Substandard Investigation & The Repercussions to Justice by Bree Donovan A Capstone Submitted to The Graduate School-Camden Rutgers, The State University, New Jersey in partial fulfillment of the requirements for the degree of Masters of Arts in Liberal Studies Under the direction of Dr. Joseph C. Schiavo and approved by _________________________________ Capstone Director _________________________________ Program Director Camden, New Jersey, December 2014 i Abstract Kurt Cobain (1967-1994) musician, artist songwriter, and founder of The Rock and Roll Hall of Fame band, Nirvana, was dubbed, “the voice of a generation”; a moniker he wore like his faded cardigan sweater, but with more than some distain. Cobain‟s journey to the top of the Billboard charts was much more Dickensian than many of the generations of fans may realize. During his all too short life, Cobain struggled with physical illness, poverty, undiagnosed depression, a broken family, and the crippling isolation and loneliness brought on by drug addiction. Cobain may have shunned the idea of fame and fortune but like many struggling young musicians (who would become his peers) coming up in the blue collar, working class suburbs of Aberdeen and Tacoma Washington State, being on the cover of Rolling Stone magazine wasn‟t a nightmare image. Cobain, with his unkempt blond hair, polarizing blue eyes, and fragile appearance is a modern-punk-rock Jesus; a model example of the modern-day hero. The musician- a reluctant hero at best, but one who took a dark, frightening journey into another realm, to emerge stronger, clearer headed and changing the trajectory of his life. -
New Sndccat~R
new SndCcat~r Volume 10, Number 1 Published at UCSD Our 18th year of publication Tues. Oct. 9th - Oct. 22nd 1984 Media Budget UCSD Attacks Freedom of Held Hostage Association Student Groups Required .Law Suit Initiated to Submit Membership Lists Following a three month period c;,,~ no funds-a direct result of Associated A major revision to existing campus Students (AS) President. Marc regulations applying to student Boroditsky's, veto of the Alternative organi~ations is coming under sharp Media budget on June 12th-and criticism from several circles within the suffering serious disruption to their University community. The revision, publication and operation schedules. made by UCSD Administrators overthe UCSD's Alternative Media received AS summer. seeks to severely curtail funding on Wednesday September 26th. Freedom of Association rights of The three month period beginning individuals active on campus by with Boroditsky's veto. marked one of requiring orga11i7ationstoMprovide a list the most bitter periods. in the long and of non-registered] non-University/ increasingly hostile AS-Alternative community members", prohibit these Media relationship. A period higlighted members from holding office or vote by vandalism, lawsuits, new Several hundred people gather at "the hump" to oppose Reaganism. on organizational issues or elections; administrative policies aimed and eliminate the right of groups to specifically towards certain members of choose an "agent" to represent the the Alternative Media. and petty organization. vindictiveness on the part of Boroditsky Hundreds Rally and his supporters on the AS Council. The existence of these regulations first Theb'new" budget passed last week did surfaced when students returning from little. -
Contradictionary Lies: a Play Not About Kurt Cobain Katie
CONTRADICTIONARY LIES: A PLAY NOT ABOUT KURT COBAIN KATIE WALLACE Bachelor of Arts in English/Dramatic Arts Cleveland State University May 2012 Master of Arts in English Cleveland State University May 2015 submitted in partial fulfillment of requirements for the degree MASTER OF FINE ARTS IN CREATIVE WRITING at the NORTHEAST OHIO MFA and CLEVELAND STATE UNIVERSITY May 2018 We hereby approve this thesis For KATIE WALLACE Candidate for the MASTER OF FINE ARTS IN CREATIVE WRITING degree For the department of English, the Northeast Ohio MFA Program And CLEVELAND STATE UNIVERSITY’S College of Graduate Studies by ________________________________________________________________ Thesis Chairperson, Imad Rahman ____________________________________________________ Department and date _________________________________________________________________ Eric Wasserman _____________________________________________________ Department and date ________________________________________________________________ Michael Geither ____________________________________________________ Department and date Student’s date of defense April 19, 2018 CONTRADICTIONARY LIES: A PLAY NOT ABOUT KURT COBAIN KATIE WALLACE ABSTRACT Contradictionary Lies: A Play Not About Kurt Cobain is a one-act play that follows failed rocker Jimbo as he deals with aging, his divorce, and disappointment. As he and his estranged wife Kelly divvy up their belongings and ultimately their memories, Jimbo is visited by his guardian angel, the ghost of dead rock star Kurt Cobain. Part dark comedy, -
Graphics Incognito
45 amateur, trendy, and of-the-moment. The irony, What We Do Is Secret the subject of spirited disagreement and post-hoc of course, being that over the subsequent two speculation both by budding hardcore punks decades punk and graffiti (or, more precisely, One place to begin to consider the kind of and veteran scenesters over the past twenty-five GRAPHICS hip-hop) have proven to be two of the most crossing I am talking about is with the debut years. According to most accounts, ‘GI’ stands productive domains not only for graphic design, (and only) album by the legendary Los Angeles for ‘Germs Incognito’ and was not originally INCOGNITO but for popular culture at large. Meanwhile, punk band the Germs, titled simply ����.5 intended to be the title of the album. By the time Rand’s example remains a source of inspiration The Germs had formed in 1977 when teenage the songs were recorded the Germs had been by Mark Owens to scores of art directors and graphic designers friends Paul Beahm and George Ruthen began banned from most LA clubsclubs andand hadhad resortedresorted to weaned on breakbeats and powerchords. writing songs in the style of their idols David booking shows under the initials GI. Presumably And while I suppose it might be possible to see Bowie and Iggy Pop. After the broadcast of a in order to avoid confusion, the band had wanted My interest has always been in restating Rand’s use of techniques like handwriting, ripped London performance by The Clash and The Sex the self-titled LP to read ‘GERMS (GI)’, as if it the validity of those ideas which, by and paper, and collage as sharing certain formal Pistols on local television a handful of Los Angeles were one word.