Space, Performance, and the Oscillation of DIY Punk Publics

Total Page:16

File Type:pdf, Size:1020Kb

Space, Performance, and the Oscillation of DIY Punk Publics Syracuse University SURFACE Theses - ALL August 2017 Getting Out of the Basement: Space, Performance, and the Oscillation of DIY Punk Publics Ryan L. Bince Syracuse University Follow this and additional works at: https://surface.syr.edu/thesis Part of the Social and Behavioral Sciences Commons Recommended Citation Bince, Ryan L., "Getting Out of the Basement: Space, Performance, and the Oscillation of DIY Punk Publics" (2017). Theses - ALL. 161. https://surface.syr.edu/thesis/161 This Thesis is brought to you for free and open access by SURFACE. It has been accepted for inclusion in Theses - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract This thesis takes the example of two scenes of activity—a punk house in Huntington, West Virginia and a 2016 DIY punk rock festival—to investigate the material-spatial influences that play out across the worldmaking performances of DIY Punk counterpublics as they oscillate across spaces that range from the intimate underground to the public writ large. Drawing on a mass of data including field interviews from punk house residents and fragments gathered from the festival and the internet, I render these scenes as radical activist worldmaking spaces that organize and prepare the international DIY punk community to do instrumental activist work. This work intervenes in counterpublic theory (Asen; Brouwer, Squires; Fraser) through an interface with geography (Blomley; Harvey; Mitchell; Staeheli) and performance studies (McKenzie; Taylor) by emphasizing space and mobility’s importance for the development of counterpublics and by pointing out the role of performance for understanding stylistically shared knowledges and counterpublic efficacies in general. Finally, this thesis draws on Lester Bangs to introduce a new counterpublic modality for thinking about enclaves that are primarily art communities and secondarily activist ones: the DIY punk party. Getting Out of the Basement: Space, Performance, and the Oscillation of DIY Punk Publics by Ryan Bince B. A. Ithaca College, 2013 Thesis Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Communication & Rhetorical Studies Syracuse University August 2017 Copyright © Ryan Bince, 2017 All Rights Reserved Acknowledgments Thank you to my advisor, Dana Cloud, who has challenged and encouraged me throughout my time at Syracuse University. Thank you to my committee members, Rachel Hall, Kathleen Eaton Feyh, Steve Parks, and Don Mitchell. Thank you to the Communication & Rhetorical Studies community at Syracuse University: Charles E. Morris III, Joanne Balduzzi, Art Hunt, Sarah Francesconi, faculty members, and my fellow graduate colleagues. You have influenced this project, my professional and intellectual development, and my personal development in more ways than you might realize. I am proud to have worked under your guidance and with your friendship. Thank you to Dylan Rollo for your smart and affectionate advice. Thank you to Codey Ryan Bills for your critical contributions to this piece and for providing snacks during our evening writing sessions. Thanks to Christopher House for asking me whether I had considered going to graduate school back in 2013. Thank you to Robert Sullivan and Donathan Brown for inspiring my interest in rhetoric and putting up with my unending streams of questions. Thank you to my partner, Lucia Smith, who contributed to this thesis in the form of enormous emotional and personal labor. There is nothing I can write here that would adequately demonstrate my gratitude for your support. Thank you to my sister, father, and mother for your unending love and encouragement. I promise I’ll come home soon. Thank you to Irene Thomas, Glenn Morris, Marilyn Rogers, Christine Almeda, and Larry Almeda. Quite literally, these words would not have been written without you. Finally, thank you to the wild and loving community of punks and artists who do the incredible work that I have only written about. Keep loving. Keep fighting. Hold on. iv Table of Contents Abstract ............................................................................................................................... i Acknowledgments ............................................................................................................ iv Preface ................................................................................................................................ 1 Introduction ....................................................................................................................... 1 Short History of DIY Punk .............................................................................................. 4 Focal Objects & Research Questions ........................................................................... 10 Data, Methods, and Political-Ethical Commitments .................................................... 15 Performing Publics, Affecting Cultural Space .............................................................. 18 Counterpublic Theory ............................................................................................... 18 Geography and Public Space .................................................................................... 20 Performance Studies ................................................................................................. 23 Chapter Outline ............................................................................................................ 26 Chapter 1 - Public Punks in Private Pads: Mapping Modalities across DIY Punk Performances ................................................................................................................... 30 Situating the punk house ............................................................................................... 32 Conceptual Apparatus .................................................................................................. 34 Finding Funky Towne ................................................................................................... 38 Situating the punk house in the built environment ................................................... 39 The microeconomics of DIY punk lifestyle performances ....................................... 46 Funking Sh*t Up: Cultural Work at Funky Towne ....................................................... 52 Building Affective Alliances through Social Support: Successes and Failures ....... 53 Party Modalities ........................................................................................................ 64 Conclusion .................................................................................................................... 71 Chapter 2 - “Follow your toes”: DIY Punk Enclaves Go to PIX Fest ....................... 74 History of Plan-It-X Fest .............................................................................................. 79 Conceptual Apparatus .................................................................................................. 82 Disengagement and Post –WWII Youth Subculture ................................................ 82 Performing Style, Performing Publics ...................................................................... 84 Mobile Modalities: DIY Punks Go Camping at PIX ..................................................... 87 Too Many Miles ........................................................................................................ 88 PIX Fest as an Instance of Counterpublicity ............................................................. 93 Departure Arrival .................................................................................................... 102 Conclusion .................................................................................................................. 107 Conclusion - “The Nomads are Settling Down”: Mobility and Fixity across DIY Punk Networks .............................................................................................................. 110 Mobility and Counterpublicity .................................................................................... 115 Tactics in Tension ....................................................................................................... 120 Resistance—Accommodation ................................................................................. 121 Escape—Engagement ............................................................................................. 124 Performing Publics in Space ...................................................................................... 126 Bibliography .................................................................................................................. 129 Vita ................................................................................................................................. 140 v List of Figures Figure 1: Sniffin' Glue Zine Page .............................................................................................................................. 6 Figure 2: Ramshackle Glory .................................................................................................................................. 55 Figure 3: Ramshackle Glory II ............................................................................................................................... 55 Figure 4: PIX Fest 2016 Pamphlet - Side 1 .......................................................................................................
Recommended publications
  • “Grunge Killed Glam Metal” Narrative by Holly Johnson
    The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way.
    [Show full text]
  • Boo-Hooray Catalog #10: Flyers
    Catalog 10 Flyers + Boo-hooray May 2021 22 eldridge boo-hooray.com New york ny Boo-Hooray Catalog #10: Flyers Boo-Hooray is proud to present our tenth antiquarian catalog, exploring the ephemeral nature of the flyer. We love marginal scraps of paper that become important artifacts of historical import decades later. In this catalog of flyers, we celebrate phenomenal throwaway pieces of paper in music, art, poetry, film, and activism. Readers will find rare flyers for underground films by Kenneth Anger, Jack Smith, and Andy Warhol; incredible early hip-hop flyers designed by Buddy Esquire and others; and punk artifacts of Crass, the Sex Pistols, the Clash, and the underground Austin scene. Also included are scarce protest flyers and examples of mutual aid in the 20th Century, such as a flyer from Angela Davis speaking in Harlem only months after being found not guilty for the kidnapping and murder of a judge, and a remarkably illustrated flyer from a free nursery in the Lower East Side. For over a decade, Boo-Hooray has been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Evan, Beth and Daylon.
    [Show full text]
  • 1/28/2008 10:56 AM Greetings
    1/28/2008 10:56 AM Greetings: This is the last update before we announce the awards on Feb. 15th. If your name is incorrect, or you are in the wrong category, please let us know so we might correct it. If you see someone in a list that does not belong, please share your opinion with us as well. This is a list of your votes, your thoughts, how you feel regarding the music industry in Oklahoma. This list will be opened up to make changes one time before we publish for the final time so before Feb. 14th let us know. On this date we will make final corrections and publish the winners… if all holds together. This year saw many more votes and we are anxious as you to know the final results… Respectfully, Stan Moffat Payne County Line Promotions, LLC Stillwater, OK. 1001 HALL OF FAME: Artist: All American Rejects Bob Childers Cody Canada Cross Canadian Ragweed Don Wood Garth Brooks Johnny Lee Merle Haggard Mike Barham Mike McClure Randy Crouch Ray Wylie Hubbard Scott Evans Stoney LaRue Texas Jack Tom Skinner Travis Linville Wanda Watson Wayne Coyne 1002 HALL OF FAME: Blues Artists: Big Daddy and the Blueskickers D C Miner Dustin Pittsley Jeff Parker Jeff Beguin Kevin Phariss Band Leon Russell The Wanda Watson Band Wanda Watson Wes Jeans Zen Okies 1003 HALL OF FAME: Female Country Artists: Camille Harp Jocelyn Rowland Miss Amy Monica Taylor Reba McEntire Shawna Russell Susan Herndon Wanda Watson 1004 HALL OF FAME: Male Country Artists: Bob Childers Brandon Jenkins Cross Canadian Ragweed Garth Brooks Jason Boland Merle Haggard Mike McClure Randy
    [Show full text]
  • 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.
    [Show full text]
  • Calling All Music Lovers!
    Plugged In Issue Six • the official school newspaper of Speedway Senior High School • March 1,1 2011 A pro prospect in our midst? Lost Frogs: Junior hockey star just one of the guys Four Found Greatness comes in many shapes and sizes. At Speedway and other east High, it comes in the form of 5’6”, 135-pound junior, Mason coast cities than By Sandy Bauers The Philadelphia Inquirer Jobst. He is one of the top junior hockey prospects in his age in Indianapolis. (MCT) group. Jobst has talked to In August, conservationists and The 17-year old center has lived and breathed hockey recruiters at many biologists launched a five-month nearly his entire life. It all started on his third birthday, when colleges around the search to try to find 100 “lost” species young Mason received a pair of brand new ice skates. Soon country; Colorado, of amphibians. Some 126 researchers after, he was wearing them around constantly. At age four, Minnesota, Yale, combed five continents in search of Jobst enrolled in his first youth hockey league, where he Maine, and Boston frogs, salamanders and others that had played the game for the first time at Pepsi Coliseum. College. not been seen in a decade or longer Nowadays, Mason is still playing hockey at Pepsi Mason spends a and were feared extinct. Coliseum. Recently, he had the chance to play on United lot of time working The good/bad news: They found States Hockey out. He has U18, four. They also made 11 re-discoveries League’s (USHL) Indiana Jr.
    [Show full text]
  • 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.
    [Show full text]
  • Grand Junction Chrysler • Jeep • Dodge • Ram
    The FREE TAKE ONE Page 3 The Western Slope’s Guide to Entertainment, Arts & News for September 2013 Marble, CO Page 13 with Fall Fe s t Page 12 and NEW LEASE PROGRAMS NOW AVAILABLE! GRAND JUNCTION CHRYSLER • JEEP • DODGE • RAM 2578 HWY 6 & 50 Grand Junction (on the corner of motor & funny little street) 245-3100 • 1-800-645-5886 Test Drive the All New 2013 Chrysler 200 www.grandjunctionchrysler.com • Sales: Mon-Fri 8:30-6:00, Sat 8:30-5:00 • Parts and Service: Mon - Fri 7:30-5:30, Sat 9:00-1:00 / Closed on Sundays 3000 Square Foot Residential Lighting Showroom Largest in Western Colorado The SOURCE Lighting is the jewelry of your home. Imagine the possibilities! 2 Full Design Team On Site Commercial grade LED light bulbs • 5 year guarantee and 15 year life span. Don’t forget for all of your commercial lighting needs. Ask about our FREE Commercial Lighting Energy Audit. 243-2400 • 552 25 Rd • Grand Junction The SOURCE / September 2013 was dedicated in a special ceremony workforce campaign drives. Some hounded the workforce for dona- The SOURCE in August. The CLETC will provide of the larger organizations in the tions! A charitable spirit makes a County Corner ... regional law enforcement and first county, such as School District 51, St. stronger community for us all, so responders needed training oppor- Mary’s or Colorado Mesa University, if you have the opportunity to sup- tunities, including a high speed are considered Pacesetters. The port the work of benevolent orga- track to perfect tricky maneuvers, United Way anticipates expected nizations in Mesa County, please By Ryan T.
    [Show full text]
  • Notes CHAPTER 1 6
    notes CHAPTER 1 6. The concept of the settlement house 1. Mario Maffi, Gateway to the Promised originated in England with the still extant Land: Ethnic Cultures in New York’s Lower East Tonybee Hall (1884) in East London. The Side (New York: New York University Press, movement was tremendously influential in 1995), 50. the United States, and by 1910 there were 2. For an account of the cyclical nature of well over four hundred settlement houses real estate speculation in the Lower East Side in the United States. Most of these were in see Neil Smith, Betsy Duncan, and Laura major cities along the east and west coasts— Reid, “From Disinvestment to Reinvestment: targeting immigrant populations. For an over- Mapping the Urban ‘Frontier’ in the Lower view of the settlement house movement, see East Side,” in From Urban Village to East Vil- Allen F. Davis, Spearheads for Reform: The lage: The Battle for New York’s Lower East Side, Social Settlements and the Progressive Movement, ed. Janet L. Abu-Lughod, (Cambridge, Mass.: 1890–1914 (New York: Oxford University Blackwell Publishers, 1994), 149–167. Press, 1967). 3. James F. Richardson, “Wards,” in The 7. The chapter “Jewtown,” by Riis, Encyclopedia of New York City, ed. Kenneth T. focuses on the dismal living conditions in this Jackson (New Haven, Conn.: Yale University ward. The need to not merely aid the impover- Press, 1995), 1237. The description of wards in ished community but to transform the physi- the Encyclopedia of New York City establishes cal city became a part of the settlement work.
    [Show full text]
  • 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.
    [Show full text]
  • THE HANDBOOK for STORYTELLERS and the Handbook for Storytime Programs) Stands on Its Own, Each Complements and Buttresses the Other
    THE HANDBOOK FOR JUDY FREEMAN and CAROLINE FELLER BAUER An imprint of the American Library Association CHICAGO 2015 www.alastore.ala.org Caroline Feller Bauer (1935–2013) was a public librarian, professor of children’s literature, radio personality, international speaker and performer, author of nineteen children’s books and professional books about children’s literature for adults, and tireless cheerleader for literacy and storytelling. Judy Freeman (www.judyreadsbooks.com) is a former school librarian; an adjunct professor at Pratt Institute in New York City, teaching courses in children’s literature and storytelling; an international speaker and performer for children, teachers, librarians, and parents; a children’s book reviewer; and the author of more than a dozen professional books about children’s literature and storytelling. She continues to work closely with librarians, teachers, and hundreds of students at several elementary schools to test out new books, ideas, and ways to incorporate literature into children’s lives. Both have developed and performed thousands of programs and workshops incorporating children’s literature, storytelling, music, poetry, and drama to tens of thousands of children and adults across the United States and abroad. © 2015 by Judy Freeman and Caroline Feller Bauer Printed in the United States of America 19 18 17 16 15 5 4 3 2 1 Extensive effort has gone into ensuring the reliability of the information in this book; however, the publisher makes no warranty, express or implied, with respect to the mate- rial contained herein. All reasonable efforts have been made to identify and contact copyright holders, but in some cases these could not be traced.
    [Show full text]
  • A Comparative Analysis of Punk in Spain and Mexico
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2018-07-01 El futuro ya está aquí: A Comparative Analysis of Punk in Spain and Mexico Rex Richard Wilkins Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Spanish and Portuguese Language and Literature Commons BYU ScholarsArchive Citation Wilkins, Rex Richard, "El futuro ya está aquí: A Comparative Analysis of Punk in Spain and Mexico" (2018). Theses and Dissertations. 6997. https://scholarsarchive.byu.edu/etd/6997 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. El futuro ya está aquí: A Comparative Analysis of Punk Culture in Spain and Mexico Rex Richard Wilkins A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Brian Price, Chair Erik Larson Alvin Sherman Department of Spanish and Portuguese Brigham Young University Copyright © 2018 Rex Richard Wilkins All Rights Reserved ABSTRACT El futuro ya está aquí: A Comparative Analysis of Punk Culture in Spain and Mexico Rex Richard Wilkins Department of Spanish and Portuguese, BYU Master of Arts This thesis examines the punk genre’s evolution into commercial mainstream music in Spain and Mexico. It looks at how this evolution altered both the aesthetic and gesture of the genre. This evolution can be seen by examining four bands that followed similar musical and commercial trajectories.
    [Show full text]
  • Information and Secrecy in the Chicago DIY Punk Music Scene Kaitlin Beer University of Wisconsin-Milwaukee
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2016 "It's My Job to Keep Punk Rock Elite": Information and Secrecy in the Chicago DIY Punk Music Scene Kaitlin Beer University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Social and Cultural Anthropology Commons Recommended Citation Beer, Kaitlin, ""It's My Job to Keep Punk Rock Elite": Information and Secrecy in the Chicago DIY Punk Music Scene" (2016). Theses and Dissertations. 1349. https://dc.uwm.edu/etd/1349 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. “IT’S MY JOB TO KEEP PUNK ROCK ELITE”: INFORMATION AND SECRECY IN THE CHICAGO DIY PUNK MUSIC SCENE by Kaitlin Beer A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in Anthropology at The University of Wisconsin-Milwaukee December 2016 ABSTRACT “IT’S MY JOB TO KEEP PUNK ROCK ELITE”: INFORMATION AND SECRECY IN THE CHICAGO DIY PUNK MUSIC SCENE by Kaitlin Beer The University of Wisconsin—Milwaukee, 2016 Under the Supervision of Professor W. Warner Wood This thesis examines how the DIY punk scene in Chicago has utilized secretive information dissemination practices to manage boundaries between itself and mainstream society. Research for this thesis started in 2013, following the North Atlantic Treaty Organization’s meeting in Chicago. This event caused a crisis within the Chicago DIY punk scene that primarily relied on residential spaces, from third story apartments to dirt-floored basements, as venues.
    [Show full text]