DOCSLIB.ORG

Freebass01.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Freebass01.Pdf www.hypnoticrecs.com PAUL OAKENFOLD VOYAGE INTO TRANCE CLP 1085 One of the true masters of the turntable, Paul Oakenfold, invites you to take a 12-track journey of the world's best trance. This continuously mixed record fea- tures tracks by TRANCEMISSION, TELEPORT, LCD, FAT BUDDHA and many more! A Voyage Into Trance is both a gesture of Oakenfold's love of Goa trance and a trip into the expansive mind of the most hypnotizing genius in dance music today! MATTHEW DJ GRIM CLP 1081 In the 14 years that he has been performing, DJ Matthew Grim has been at the forefront of the underground dance music scene working with the best electronic acts including the CHEMICAL BROTHERS, CRYSTAL METHOD, DJ KEOKI AND RICHARD "HUMPTY" VISSION! Hypnotic records proudly pres- ents this unconventional and instantly recognizable talent. DEEP HOUSE CULTURE CLP 1086 “When they come to write the history of dance music, the word ‘Garage’ will have a section all to itself. The writers of that book, if they want to get the facts right, will use this collection as a damn near perfect example of what real Garage sounds like.” - Alan Russell, Soul Movement / Echoes Magazine RAVE TRANCE 2001 BIG 4069 2 discs of continuously mixed trance by the extrodinarily tal- ented DJ Ibiza. A non-stop musi- cal voyage that features classic tracks from well-known artists such as DJ Akira and Bypass Unit as well as the best under- ground dj's! A compilation to highlight any party in the year 2001 and beyond! HAPPY HARDCORE ESSENTIALS BIG 4047 Furious beats and uptempo to say the least, Happy Hardcore Essentials features groundbreak- ing artists including VIRTUAL SOCIETY, CELLBLOCK-X, SON OF A BITCH and exclusive tracks from TRANSMUTATOR and DJ MATTHEW GRIM! HYPNOTIC RECORDS 13428 MAXELLA AVE #251 MARINA DEL REY, CA 90292 WWW.HYPNOTIC RECS.COM • CALL 310. 823. 0337 • FAX 310. 823. 5497 FOR A FREE CATALOG : [email protected] • 310. 823. 0337 ADDICTED TO DANCE Publishers: Wess inside: Fix 12. john digweed Managing Editor: 16. loxy Mike Fix 20. ron d, core Genre Editors: 38. happy hardcore in Simon Apex Ganesh america Demigod 24. sundissential SDF-1 &DJW Barbarella 18. mark tabberner Dimension 23 32. raves killed Contributors: by crack? Ron D. Core, Barbarella, Knowitall Desert Outlaw, Brad Vachal Robyn Scharaga, Gary B., DJ Rain Yehudi Sledgehammer, Origin sections Cover Design: 46. uk hardhouse / nu-nrg Marcelino (Mars) Sandoval at Chipmonk Grafx 36. happy hardcore design by: 58. jungle / drumnbass The Grafix Dept. Jr. Editors: 42. hardcore Marcus Soto 50. trance Cathleen Egasani Yonas Gebru Advertising: 323.651.0275 Rich Sihilling Ian Dealhoy [email protected] plus: Editorial: 323.651-0275 60. charts [email protected] 8. weekly raver news WEB: www.freebass.tv 10. random art ©2001 Freebass. All rights reserved, ...and much more... no portion of this magazine may be reproduced without the written per- mission of the publisher. welcome toour debut issue. try not to get hooked. but if you do, just remember to get yours the first Wednesday of ADDICTED TO DANCE every month. all the latest raver news...all in one place...this is the... WEEKLY RA Super Star DJ Keoki’s face found on MARS! During last months Moontribe event in the California desert. Chris Morani, an attendee managed to take this photograph of the super star DJ with his amateur astronomy set-up. This very rare image is sure to rival the original face on Mars photograph. So far we can’t figure out the significance of why the Super Star DJs face would be on Mars, but we’re certain of one thing, if Keoki’s face is on Mars, there’s sure to be others. Though one thing deeply troubles us here at WRN, Mr. Morani wasn’t avail- able for comment after he sent this image to us. Many attempts were made to contact him, even a trip to his residence yielded no contact. If anyone has any information on where Mr. Morani is, please contact us. We fear Mr. Morani may have been taken into custody by either the CIA, NSA, or NASA in an attempt to cover up this discovery After days of phone calls to the radio tel- escope in South America, no astronomers would officially com- ment on the discovery. The only on the record comment was made by the secretary at the facility, “Keoki’s face may be on Mars, though it’s highly improbable.” If you have any news worthy articles that we may not be aware of, please send us e-mail at “[email protected]” help us help the world with news and information! AVER NEWS Intern Discovers Huge Ravers on Internet! While surfing the world wide web for new undiscovered Asian porn sites, a WRN intern discov- ers what may possible be the largest ravers ever recorded in history on the internet. These giant sized ravers were found at www.fatchicksinpartyhats.com. We feel this may be just the tip of the iceberg. Worlds largest E-tab found in China. In December of last year two Norwegian sci- entists discovered what may possibly be the worlds largest E- tab. Based on carbon dating, this E-tab at the diameter of 2 feet 3 inches, dates back to the early 16th century. This discovery came as quite a surprise, since the expedition was commis- sioned to find the final resting place of Noah’s Arc. Two headed raver baby born at rave expected to live! Baby Sarah/Thomas should live a full and healthy life doctors say after rare birth at rave. The parents are ecstatic about the news but would not comment on the record about the two headed child. questioned:questioned aa freebassfreebass q/aq/a JohnJohn DigweeDigweedd Progressive house and trance, what do you consider to be the differences? This seems to be a gray area for a lot of people. Is this your own stuff? In England, trance is something that’s not There’s a new Bedrock track, called Strange, cool. I relate trance to very much that which is a track I did, and a new track called melodic deeper sound, that whole German Forge, which is an electro break beat track, sound. That too me was the trance sound. a bit different from what you’d normally Progressive to me is like early Left Field, expect from us. quite a lot of rhythmic beats, bass lines, and everything else. It’s so hard to say this is What did the criminal justice bill do to the this, and that is that. That’s why I’ve always scene in the UK? hated pigeon holes. It stopped all of the illegal warehouse, orbital raves, you know, turning up in a field and What’s going on with Bedrock? putting up a sound system, it really did The club night is still going really well, 2 1/2 squash it. It forced people to do things in years. It’s one of those great nights where clubs, and forced higher standards. Clubs you have a regular crowd, really into what’s like Cream, Gatecrasher, Ministry, they’re all going on, they’re very open minded. It’s great clubs, and keep raising the bar, they really great to have a crowd that’s into the have to do more now. People come to the music. clubs expecting more, they’re not going to settle for a couple of speakers in a room And the label? with a flashing light. Half of me misses the The label is doing really well. We have a warehouse, the not knowing where the party whole bunch of stuff coming out over the is going to be, there is an excitement, a lot next few months. We had such a good year of fun, driving though the country not know- I just wanted to sit on a few things, we’re ing where you’re going. going to get started releasing at the end of February. dd What do you think of the whole internet, napster thing… I think it’s great for someone who makes music, and can’t get anyone to listen to it. What’s next? What do you think is going They send it to record companies and they to be the future of this sound. To me, I have so much shit they can’t listen to it. think it’s gone as deep as it’s going to get, But if you make tracks and believe in what and it’s also hit the peak of cheese. you do, and you put it up and people listen What you’re seeing over the past 12 to 18 to what you do and like it, it’s a great way months is a reaction to that highest level of to progress. Then you’re doing a good job cheesiness, it’s like you have to go totally doing what the press, the radio, and every- the opposite way. I think what we’re really one else isn’t doing for you. seeing is the sound with America and England merging in the middle. With pro- ducers like Halo and Doc Martin, and all that sound, fusing with what’s going on in England. I think it’s really exciting with everything joining up. I think about April, May, things are going to start going up a bit, some really good stuff in the next cou- ple of months. Tell me what influenced you to journey into Drum & Bass (D&B)? I got into D&B was when I had first heard early jungle tracks coming out (1993to’94), it was just some mad drum programming…Being a drummer myself…I really was drawn to that end of the music..
Load more

Recommended publications
  • Slovenian Folk Music and Identity Maintenance In
    SLOVENIAN FOLK MUSIC AND IDENTITY MAINTENANCE IN PORT LINCOLN, SOUTH AUSTRALIA Kathryn Hardwick-Franco B.A. (Hons) Grad.Dip.Ed. Submitted in fulfilment of the requirements for the degree of Master of Music Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide December 2009 1 TABLE OF CONTENTS PAGE ABSTRACT ......................................................................................................................................... 4 DECLARATION ................................................................................................................................... 6 ACKNOWLEDGEMENTS .................................................................................................................... 7 FOREWORD ....................................................................................................................................... 8 1 CHAPTER ONE — INTRODUCTION ............................................................................................. 10 1.1 Terms and definitions .............................................................................................................. 11 1.1.1 Slovenian Folk Music ...................................................................................................... 11 1.1.2 Identity ............................................................................................................................ 14 1.1.3 Music and Identity ..........................................................................................................
    [Show full text]
  • Scanned Using Book Scancenter 5131
    Stjohn's College Student Bi-Weekly April 20,1995 Volume 0 Issue X Better Jobs on Campus in the Fall i Fin2.11y, the dirt on AAA3rk-Stlldyi —^Jeimifer Chenoweth Pending the Board of Visitors and Governors approval of the 1995- Studentjobs will increase from 10 hours per week to 12hoursper 96 budget, and pending a stable enrollment in the fall, the Finance week. That is the difference in Entry Level Federal Work-Study Committee has approved my proposal for a new College Work- Awards, from $1,700 to $2,015 per year. Some students already Study Program. work more than that now, and don’t get paid for it. I will encourage While talking with students about on-campus jobs, I hear com­ supervisors to work with students needing to work within office plaints from all sides. Some students need jobs that pay well, and on- hours to be flexible. campus jobs at $5.25 per hour are not an option. Annapolis students How this affects a Financial Aid Award receive some pay increases, while Santa Fe students do not. Some The increase in hours, from 10 to 12 per week, will be subtracted work diligently on-campus for years in the same department, with from college grant. This is the financial benefit forthe administration. greater responsibihty each year, with no reward or pay raise. Some The increase by promotion, to $6.25 or $7.50 per hour, will be students work an on-campus job for 10 hours a week and a job in subtracted from LOANS. This is the big financial benefit for town for 10-15 hours per week.
    [Show full text]
  • INTERVIEWS the ONE JLA-Habexo
    HABITABLE EXOMUSIC INTERVIEW ANSWERS Jacob Anderskov, August 2015 INDEX: THE QUESTIONNAIRE 3 THE ANSWERS 5 DJANGO BATES 7 MARC DUCRET 9 ELLERY ESKELIN 10 FRANK GRATKOWSKI 11 MARY HALVORSON 12 HERB ROBERTSON 13 STEN SANDELL 14 NILS WOGRAM 16 Habitable Exomusic Interview Answers – Jacob Anderskov 2 The Questionnaire A number of my favourite musicians and colleagues from around the globe were asked to respond to the same five questions. The interviewees were all – by choice of mine – musicians that I had personal contact to beforehand, most of them because we had performed together at some point. All interviews reprinted in this text were done by e-mail correspondence, with no following up to the questions. No editing was made except for spelling and graphic considerations. The questionnaire went like this: “ … The SUBJECT in brief: I am interested in to what extend leading improvisers of today are concerned with / interested in “definable post tonal material structuring principles”. When I talk about “definable post tonal material structuring principles”, I am thinking about concepts like melodic serialism, quasi-serialism or limitation to a few intervals at a time - melodic symmetry - “cells” - “set theory” - concepts of consistency of dissonances - multiple simultaneous tonalities - tone grids and twisted spectres - etc. … (1) … The QUESTIONS: – To what extend have your Processes as an imProviser been informed/influenced by definable material structuring PrinciPles? – e.g. from specific concepts/theories, or specific parts of recent music
    [Show full text]
  • Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
    Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant
    [Show full text]
  • Franz Washington 0250E 17325.Pdf
    The Homeric Answer: How By-Ear Learning and Improvisation Enhance the Musicianship of Classical Performers Gwen Ellen Franz A dissertation submitted in partial fulfillment of the requirements of the degree of Doctor of Musical Arts University of Washington 2017 Reading Committee: Melia Watras, Chair George S. Bozarth Patricia Shehan Campbell Program Authorized to Offer Degree: String Department, School of Music ©Copyright 2017 Gwen Ellen Franz !iii University of Washington Abstract The Homeric Answer: How By-Ear Learning and Improvisation Enhance the Musicianship of Classical Performers Gwen Ellen Franz Chair of the Supervisory Committee: Professor Melia Watras String Department, School of Music Throughout the history of non-Western music-making, and common to most art music in cultures around the world, musicians have shared the fundamental practice of learning, transmitting, and composing their art by ear. For many centuries, Western European art music also took part in this practice. However, as a highly sophisticated notational system evolved, and through-composed music was prioritized, an emphasis in Western classical music on learning to play primarily by reading notation was established. Ironically, this has resulted in causing many classical performers today to find themselves with a limiting handicap: formally trained in an aural art, they often feel incapable of playing music unless they are provided with notation to read. They also have difficulty playing music of their own invention. In contrast, due to the different means by which the brain processes music learned by ear, musicians from oral or oral/ written traditions simultaneously nurture their potential to create their own original music through embellishment, improvisation, and composition.
    [Show full text]
  • Teaching Music, Learning Culture: the Challenge of Culturally Responsive Music Education
    Teaching music, learning culture: The challenge of culturally responsive music education Tracy Rohan A thesis submitted for the degree of Doctor of Philosophy (Music) at the University of Otago, Dunedin, New Zealand. April 2011 ~ i ~ ~ ii ~ Abstract This research investigates experiences of music teaching and learning within culturally diverse school communities and examines the ways cultural diversity informs pedagogical practices in music education. The following key questions were investigated: In what ways is music education, as experienced by the participants, informed by or responsive to cultural diversity? What barriers to culturally responsive and inclusive music education are identified? What do students and teachers believe about content and pedagogy within a successful music programme? The project used a collective case study methodology and sought perspectives from teachers and students within high schools in New Zealand, Australia and the United States, each selected for participation based on its reputation for offering successful music education practice within a culturally diverse school community. The principal conclusions are that while most of the teacher participants articulated positive views regarding cultural diversity, as well as a belief that pedagogical decisions should not privilege Western musics or musicianship, student perceptions reflected a limited understanding of the global diversity of musical expression and experience. Most students expressed interest in participating in more inclusive, culturally diverse music education programmes. Key barriers identified by students and teachers to a more inclusive and informed educational response to cultural diversity were: assessment requirements, the limiting nature of school choral and instrumental ensembles, performance schedules, festivals and competitions, the conservative nature of teacher education experience for some teachers, lack of resources and professional development.
    [Show full text]
  • Adapting Copyright for the Mashup Generation
    ARTICLE ADAPTING COPYRIGHT FOR THE MASHUP GENERATION PETER S. MENELL† Growing out of the rap and hip hop genres as well as advances in digital editing tools, music mashups have emerged as a defining genre for post-Napster generations. Yet the uncertain contours of copyright liability as well as prohibitive transaction costs have pushed this genre underground, stunting its development, limiting remix artists’ commercial channels, depriving sampled artists of fair compensation, and further alienating netizens and new artists from the copyright system. In the real world of transaction costs, subjective legal standards, and market power, no solution to the mashup problem will achieve perfection across all dimensions. The appropriate inquiry is whether an allocation mechanism achieves the best overall resolution of the trade-offs among authors’ rights, cumulative creativity, freedom of expression, and overall functioning of the copyright system. By adapting the long-standing cover license for the mashup genre, Congress can support a charismatic new genre while affording fairer compensation to owners of sampled works, engaging the next generations, and channeling disaffected music fans into authorized markets. INTRODUCTION ........................................................................ 443 I. MUSIC MASHUPS ..................................................................... 446 A. A Personal Journey ..................................................................... 447 † Koret Professor of Law and Director, Berkeley Center for Law & Technology, University of California at Berkeley, School of Law. I thank my sons Dylan and Noah, Peter DiCola, Kembrew McLeod, Gregg Gillis, DJ Guzie, and DJ Solarz for inspiration and background about mashup culture. I also thank Mark Avsec, Jane Ginsburg, Eric Goldman, Molly Van Houweling, David Nimmer, Dotan Oliar, Sean Pager, and participants at the Berkeley Law IP Scholarship Seminar, Berkeley Law Faculty Seminar, and Fifth Annual Internet Law Work-in-Progress Conference for comments.
    [Show full text]
  • Dangers Lurking with Internet
    Warrior athletes Seniors, are you ready? Building a better prepare for spring pages 13-17 future with language sports - Soccer on classes - page 3 Ogden, UT page 21 PRSRT STD PRSRT Permit No. 208 U.S. Postage Paid WEBERWEWEBEB HIGH SCHOOL 430 WEST WEBER HIGH DRIVE PLEASANT VIEW, UT 84414 E H T TH May 2014 SINCE 1946SinceSince 19461946 VOLUME: Volume:Vol u285me: ****** Issue:IsISSUE:sue: **** 6** Odds The ballots have Dangers ‘n’ been counted and lurking Ends the officers are... with Counting Calories internet ____________________________ Every time you By Aleesha Mauchley stick a Assistant to the Chief stamp, you ____________________________ consume 1/10 of a While many people cannot sur- calorie. vive a day without internet technol- ogy, some don’t realize the danger associated with its use. Josi Anger- hofen from Netsmartz and Kyson Famous Face Dana from Fight the New Drug program headed a PTSA assembly Former at Weber High on Mar. 5. Their bas- purpose informs parents and teens ketball on internet safety. superstar Netsmartz is an organization that helps teens and others be safe Michael In order to become an SBO, candidates had to entertain students during an assembly.Photos above: on the internet. “We need to think Jordan is about the things we are posting and the most recognized face McKay Hunt (left) demonstrates how much his the people we are interacting with. in the world, more than the mouth can hold. If we post inappropriate or illegal Pope himself. Adam Olpin (right) performs the Irish jig. things, we can lose college and job opportunities,” Angerhofen says.
    [Show full text]
  • A Year in the Life of Bottle the Curmudgeon What You Are About to Read Is the Book of the Blog of the Facebook Project I Started When My Dad Died in 2019
    A Year in the Life of Bottle the Curmudgeon What you are about to read is the book of the blog of the Facebook project I started when my dad died in 2019. It also happens to be many more things: a diary, a commentary on contemporaneous events, a series of stories, lectures, and diatribes on politics, religion, art, business, philosophy, and pop culture, all in the mostly daily publishing of 365 essays, ostensibly about an album, but really just what spewed from my brain while listening to an album. I finished the last essay on June 19, 2020 and began putting it into book from. The hyperlinked but typo rich version of these essays is available at: https://albumsforeternity.blogspot.com/ Thank you for reading, I hope you find it enjoyable, possibly even entertaining. bottleofbeef.com exists, why not give it a visit? Have an album you want me to review? Want to give feedback or converse about something? Send your own wordy words to [email protected] , and I will most likely reply. Unless you’re being a jerk. © Bottle of Beef 2020, all rights reserved. Welcome to my record collection. This is a book about my love of listening to albums. It started off as a nightly perusal of my dad's record collection (which sadly became mine) on my personal Facebook page. Over the ensuing months it became quite an enjoyable process of simply ranting about what I think is a real art form, the album. It exists in three forms: nightly posts on Facebook, a chronologically maintained blog that is still ongoing (though less frequent), and now this book.
    [Show full text]
  • Live Performance, Touring and Music in the Digital Age Calum Corser
    Live Performance, Touring and Music in the Digital Age Calum Corser Thesis submitted in consideration of the degree of Master of Philosophy The University of Salford School of Arts and Media 2015 I Contents List of illustrations II Acknowledgements III 1. Introduction 1 2. Methodology 10 3. Literature Review 14 4. Live Performance and Touring 44 5. Music In the Digital Age 84 6. Conclusions 128 Bibliography 135 Appendix A 140 II Table of Figures Figure 1 – The River Card sleeping arrangements photo (Mascha Arts) 48 Figure 2 – 924 Gliman Street flyer 61 Figure 3 –Screenshot of The Script’s Facebook post 64 Figure 4 – Screenshot of Nicki Minaj’s Instagram post 78 Figure 5 – The River Card and Alpha & Omega tour poster – unknown credit 142 Figure 6 – Image from Google maps of venue location 146 III Acknowledgements Special thanks go to Claire, Isobel and my family; without their support I may have lost my sanity. I would also like to thank Dr Benjamin Halligan and the late David Sanjek for their time, patience and guidance. Thanks to anyone I have met who have shaped my thoughts on the subject. Also thanks to Mascha Arts for taking cool pictures and letting me use them. IV Abstract Live Performance, Touring and Music in the Digital Age The purpose of this research is to understand the importance and necessity of live performance to the music industry and the state of the music industry in the current digital revolution/era. What is still quite a “manual” aspect of the music industry, live performance and in particular touring, still figures quite heavily in the working life of musicians both major label and grass roots alike.
    [Show full text]
  • GOLDEN PAGODAS and PLATINUM ALBUMS: DEVELOPING and DECOLONIZING COPYRIGHT in MYANMAR D. Bondy Valdovinos Kaye BA, MS Submitted
    GOLDEN PAGODAS AND PLATINUM ALBUMS: DEVELOPING AND DECOLONIZING COPYRIGHT IN MYANMAR D. Bondy Valdovinos Kaye BA, MS Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Communication Creative Industries Faculty QUT 2021 Keywords Copyright, decolonizing, critical media industries studies, Myanmar, Burma, music industries, digital music, cultural labour, empirical law research ii | Page Abstract This thesis investigates copyright and musical artists in Myanmar. Theoretically framed by critical media industries studies and decolonizing methodologies and informed by in-depth qualitative interviews with informants in the Myanmar music industry (n=38), this thesis illustrates how a music recording industry can flourish in the relative absence of copyright. Further, findings demonstrate how cultural conceptions of copying and authorship can shift dramatically in the absence of or prior to copyright reform. The only copyright law in Myanmar was passed in 1914 and was used so seldomly many artists quoted in press and previous studies stated there was no copyright in Myanmar. Myanmar returned to the international stage after five decades of isolation under military rule in the 2010s. During the years of military rule, the Myanmar music recording industry developed informally with seldomly enforced copyright policy. By the time copyright reform was at hand in Myanmar in May 2019, many informants highlighted in this study were eager to welcome its arrival despite critiques levelled against dominant international copyright regimes. The central questions of this thesis are: 1) how do artists in Myanmar understand copyright; 2) how did the relative absence of copyright shape the Myanmar music recording industry; and 3) what do artists want from a copyright system in Myanmar? This thesis raises questions about the colonial legacy and power dynamics of international copyright regulation in the Global South.
    [Show full text]
  • Place and Punk: the Heritage Significance of Grunge in the Pacific North West
    Place and Punk: The heritage significance of Grunge in the Pacific North West William Kenneth Smith MA By Research University of York Archaeology May 2017 Abstract Academic institutions and the heritage industry are now actively seeking to understand the wider social, cultural and economic processes which surround the production and consumption of popular music histories. Music is a local creation; it is created through a flux of internal and external influences, and is bound up in questions of economy, networks, art, identity and technology. In the early 1990s the Pacific North West of the United States of America gave birth to what became known as the musical genre of ‘grunge’. It developed into a distinctive genre, presenting a style and sound which propagated within the confines of a specific time and place. As construction sites continue to emerge throughout the Pacific North West, the impact of music still provides an essential contribution to the regions character and culture. Despite this, countercultural pasts are vulnerable; not only to the passage of time but also the processes of development, gentrification and marginalization. This research explores the heritage significance of the Pacific North West punk scene. It presents a historiography of punk and an appraisal of the scholarly discourse surrounding place. This study utilizes artifacts, sites and oral histories to explore countercultural material and memories as well as the form and function of punk. Themes such as geography and environment are enfranchised into the discussion as ethnography and multidisciplinary approaches are applied to make a unique contribution to what is an essential and timely discussion regarding people, culture, heritage and place.
    [Show full text]