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Razorcake Issue #82 As A
RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS. -
Punk Preludes
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Summer 8-1996 Punk Preludes Travis Gerarde Buck University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Buck, Travis Gerarde, "Punk Preludes" (1996). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/160 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Punk Preludes Travis Buck Senior Honors Project University of Tennessee, Knoxville Abstract This paper is an analysis of some of the lyrics of two early punk rock bands, The Sex Pistols and The Dead Kennedys. Focus is made on the background of the lyrics and the sub-text as well as text of the lyrics. There is also some analysis of punk's impact on mondern music During the mid to late 1970's a new genre of music crept into the popular culture on both sides of the Atlantic; this genre became known as punk rock. Divorcing themselves from the mainstream of music and estranging nlany on their way, punk musicians challenged both nlusical and cultural conventions. The music, for the most part, was written by the performers and performed without worrying about what other people thought of it. -
Dead Kennedys and the Yippie-Punk Continuum I Michael Stewart Foley
Political Pie-Throwing: Dead Kennedys and the Yippie-Punk Continuum i Michael Stewart Foley To cite this version: Michael Stewart Foley. Political Pie-Throwing: Dead Kennedys and the Yippie-Punk Continuum i. Sonic Politics: Music and Social Movements in the Americas, 2019, 1138389390. hal-01999010 HAL Id: hal-01999010 https://hal.univ-grenoble-alpes.fr/hal-01999010 Submitted on 30 Jan 2019 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. Political Pie-Throwing: Dead Kennedys and the Yippie-Punk Continuumi MICHAEL STEWART FOLEY By the time Dead Kennedys released their first LP, Fresh Fruit for Rotting Vegetables, in 1980, the band had established itself as the leading American political punk band, hailing from a city that seemed to specialize in political art. In many ways, the band and its music represented the culmination of nearly three years of subcultural political struggle on a host of issues facing not only young people in San Francisco but American youth everywhere – enough that, to this day, many of the city’s punk veterans refer to their experience in the “movement.” Political historians of the United States in the 1970s and 1980s have mostly ignored punk, but this essay examines Dead Kennedys’ early career as a way to illuminate the political experience of one segment of American youth in the late 1970s. -
America's Hardcore.Indd 278-279 5/20/10 9:28:57 PM Our First Show at an Amherst Youth Center
our first show at an Amherst youth center. Scott Helland’s brother Eric’s band Mace played; they became The Outpatients. Our first Boston show was with DYS, The Mighty COs and The AMERICA’S HARDCORE FU’s. It was very intense for us. We were so intimidated. Future generations will fuck up again THE OUTPATIENTS got started in 1982 by Deep Wound bassist Scott Helland At least we can try and change the one we’re in and his older brother Eric “Vis” Helland, guitarist/vocalist of Mace — a 1980-82 — Deep Wound, “Deep Wound” Metal group that played like Motörhead but dug Black Flag (a rare blend back then). The Outpatients opened for bands like EAST COAST Black Flag, Hüsker Dü and SSD. Flipside called ’em “one of the most brutalizing live bands In 1980, over-with small cities and run-down mill towns across the Northeast from the period.” 1983’s gnarly Basement Tape teemed with bored kids with nothing to do. Punk of any kind earned a cultural demo included credits that read: “Play loud in death sentence in the land of stiff upper-lipped Yanks. That cultural isolation math class.” became the impetus for a few notable local Hardcore scenes. CANCEROUS GROWTH started in 1982 in drummer Charlie Infection’s Burlington, WESTERN MASSACHUSETTS MA bedroom, and quickly spread across New had an active early-80s scene of England. They played on a few comps then 100 or so inspired kids. Western made 1985’s Late For The Grave LP in late 1984 Mass bands — Deep Wound, at Boston’s Radiobeat Studios (with producer The Outpatients, Pajama Slave Steve Barry). -
Jello Biafra High Priest of Harmful Matter - Tales from the Trial Mp3, Flac, Wma
Jello Biafra High Priest Of Harmful Matter - Tales From The Trial mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Non Music Album: High Priest Of Harmful Matter - Tales From The Trial Country: UK Released: 1992 Style: Spoken Word MP3 version RAR size: 1238 mb FLAC version RAR size: 1176 mb WMA version RAR size: 1567 mb Rating: 4.8 Votes: 423 Other Formats: TTA MP1 DMF AU AIFF FLAC RA Tracklist 1.01 Intro - Love American Death Squad Style 11:46 1.02 Talk On Censorship 44:06 2.01 Tales From The Trial 43:24 Credits Producer – Jello Biafra Notes Spoken Word Album #2 (P)+(C) 1989/1992 Alternative Tentacles Records, 64 Mountgrove Road, London N5 2LT. UK Distribution RTM/Pinnacle. Made In England (and you're not). Barcode and Other Identifiers Barcode: 5 016691 006622 Other (Label Code): LC 8356 Other (Distribution Code): EFA CD17617 22 Other versions Category Artist Title (Format) Label Category Country Year High Priest Of Harmful Jello Alternative VIRUS 66 Matter - Tales From The VIRUS 66 US 1989 Biafra Tentacles Trial (2xLP, Album) Jello High Priest Of Harmful Alternative VIRUS 66C VIRUS 66C US 1989 Biafra Matter (Cass) Tentacles High Priest Of Harmful Jello Alternative VIRUS 66 Matter - Tales From The VIRUS 66 UK 1989 Biafra Tentacles Trial (2xLP, Album) High Priest Of Harmful Jello Alternative VIRUS 66CD Matter (2xCD, Album, VIRUS 66CD US Unknown Biafra Tentacles RE) High Priest Of Harmful Jello Alternative VIRUS 66CD Matter (2xCD, Album, VIRUS 66CD Canada 1992 Biafra Tentacles RE) Related Music albums to High Priest Of Harmful Matter - Tales From The Trial by Jello Biafra Neurosis - Souls At Zero Alice Donut - Medication Tumor Circus - Take Me Back Or I'll Drown Our Dog Alice Donut - Magdalene Jello Biafra With D.O.A. -
Punk Record Labels and the Struggle for Autonomy 08 047 (01) FM.Qxd 2/4/08 3:31 PM Page Ii
08_047 (01) FM.qxd 2/4/08 3:31 PM Page i Punk Record Labels and the Struggle for Autonomy 08_047 (01) FM.qxd 2/4/08 3:31 PM Page ii Critical Media Studies Series Editor Andrew Calabrese, University of Colorado This series covers a broad range of critical research and theory about media in the modern world. It includes work about the changing structures of the media, focusing particularly on work about the political and economic forces and social relations which shape and are shaped by media institutions, struc- tural changes in policy formation and enforcement, technological transfor- mations in the means of communication, and the relationships of all these to public and private cultures worldwide. Historical research about the media and intellectual histories pertaining to media research and theory are partic- ularly welcome. Emphasizing the role of social and political theory for in- forming and shaping research about communications media, Critical Media Studies addresses the politics of media institutions at national, subnational, and transnational levels. The series is also interested in short, synthetic texts on key thinkers and concepts in critical media studies. Titles in the series Governing European Communications: From Unification to Coordination by Maria Michalis Knowledge Workers in the Information Society edited by Catherine McKercher and Vincent Mosco Punk Record Labels and the Struggle for Autonomy: The Emergence of DIY by Alan O’Connor 08_047 (01) FM.qxd 2/4/08 3:31 PM Page iii Punk Record Labels and the Struggle for Autonomy The Emergence of DIY Alan O’Connor LEXINGTON BOOKS A division of ROWMAN & LITTLEFIELD PUBLISHERS, INC. -
Alternative Tentacles Batcastno. 111: H.R. Giger Tribute by Jello
Transcription of Mordam, our distributor at the time, said, "Well, you realize no store will stock this if that is the front Alternative Tentacles Batcast No. 111: cover." So then we looked at having the super dark H.R. Giger Tribute shrink wrap that Roxy Music used in "Country Life" and Pink Floyd used on "Wish You Were Here" I by Jello Biafra - 5/13/2014 think? The blue shrink wrap proved to be prohibitively expensive. Then after initially saying Original podcast available on the idea was ok, the other members of Dead www.bullhorn.fm/alternativetentaclesbatcast/posts/z Kennedys then freaked out about the picture. After LfkuGZ-111-h-r-giger-tribute we had secured the rights and everything! So a big quarrel ensued and we finally agreed to put it on the inside, which took care of the stores, as an insert The reason for the emergency podcast, trying to put poster, instead of the concept of having it as a wrap it up before getting too many interview requests with around gate-fold cover with "Frankenchrist" in all the same questions, though Rolling Stone and LA candy cane lettering and nothing else on the front. Times have already found me apparently. I'm Then you would open it up and on the inside would grateful they would even consider wanting my input be the infamous Shriner picture and nothing else. No on Hans Ruedi Giger. explanation whatsoever. That's what I wanted. Many people know him mainly for the monster and Didn't work out that time. -
Download a PDF of the Inventory B
PUBLIC COLLECTORS Records Collection Inventory of: Marc Fischer Chicago, IL, USA About PUBLIC COLLECTORS Public Collectors consists of informal agreements where collectors allow the contents of their collection to be published and permit those who are curious to directly experience the objects in person. Participants must be willing to type up an inventory of their collection, provide a means of contact and share their collection with the public. Collectors can be based in any geographic location. Public Collectors is founded upon the concern that there are many types of cultural artifacts that public libraries, museums and other institutions and archives either do not collect or do not make freely accessible. Public Collectors asks individuals that have had the luxury to amass, organize, and inventory these materials to help reverse this lack by making their collections public. The purpose of this project is for large collections of materials to become accessible so that knowledge, ideas and expertise can be freely shared and exchanged. Public Collectors is not intended, nor should it be used for buying and selling objects. There are many preexisting venues for that. Collectors can accommodate viewers at whatever location is most com - fortable or convenient for them. If their collection is portable or can be viewed in a location other than the collector’s home, this would still be an appropriate way to participate in the project. In addition to hosting collection inventories and other information, www.publiccollectors.org includes digital collections that are suitable for web presentation, do not have a physical material analog, or are difficult or impossible to experience otherwise. -
Popular Music and Gays, Lesbians, Bisexuals, and Transgender People: an Annotated Bibliography and Discography
Page 1 of 35 Popular Music and Gays, Lesbians, Bisexuals, and Transgender People: An Annotated Bibliography and Discography. Compiled by Walt “Cat” Walker. Approved by the GLBTRT Resources Committee. Last revised January 12, 2017. TABLE OF CONTENTS Introduction 2 I. General Nonfiction 3 II. Memoirs & Biographies 9 III. Fiction 32 IV. Drama 33 V. Children & Teens 34 VI. DVDs 35 Page 2 of 35 Introduction Gays, lesbians, bisexuals, and transgender people have always participated in creating popular music. In recent years, the visibility of LGBTQ people in the music world has increased, and more popular music has been created that openly describes the LGBTQ experience. There has also been an increase in books and films related to LGBTQ visibility in popular music, both in fiction and nonfiction. This bibliography includes resources about gay men, lesbians, bisexuals, and transgender persons involved in the popular music field. The books have all been published in print, and many of them may also be found as e-books. Separate sections contain memoirs, novels, plays, and children’s and teen books. Several LGBT popular music-related DVDs are also listed. Each book and DVD has a link to the OCLC WorldCat record (when available) where you can see which libraries hold the item. Most of this resource is comprised of a discography of popular music recordings by LGBTQ artists. It is not meant to be complete, but many recordings still available in CD format for each artist are listed, and several are annotated. Many of these performers’ songs can now also be found on streaming music services and online digital music websites. -
Queer Youth and the Importance of Punk Rock
QUEERING PUNK: QUEER YOUTH AND THE IMPORTANCE OF PUNK ROCK DENISE SCOTT A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN INTERDISCIPLINARY STUDIES YORK UNIVERSITY TORONTO, ONTARIO DECEMBER 2011 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-90087-1 Our file Notre reference ISBN: 978-0-494-90087-1 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Transposition, 3 | 2013 "I Don’T Give a Shit Where I Spit My Phlegm" (Tribe 8)
Transposition Musique et Sciences Sociales 3 | 2013 Musique et théorie queer "I don’t give a shit where I spit my phlegm" (Tribe 8). Rejection and Anger in Queer-Feminist Punk Rock Maria Katharina Wiedlack Electronic version URL: http://journals.openedition.org/transposition/280 DOI: 10.4000/transposition.280 ISSN: 2110-6134 Publisher CRAL - Centre de recherche sur les arts et le langage Electronic reference Maria Katharina Wiedlack, « "I don’t give a shit where I spit my phlegm" (Tribe 8). Rejection and Anger in Queer-Feminist Punk Rock », Transposition [Online], 3 | 2013, Online since 01 March 2013, connection on 20 April 2019. URL : http://journals.openedition.org/transposition/280 ; DOI : 10.4000/ transposition.280 This text was automatically generated on 20 April 2019. La revue Transposition est mise à disposition selon les termes de la Licence Creative Commons Attribution - Partage dans les Mêmes Conditions 4.0 International. "I don’t give a shit where I spit my phlegm" (Tribe 8). Rejection and Anger i... 1 "I don’t give a shit where I spit my phlegm" (Tribe 8). Rejection and Anger in Queer-Feminist Punk Rock Maria Katharina Wiedlack 1 The statement and title for my article,1 "I don’t give a shit where I spit my phlegm", is part of the lyrics to the song "People Hate Me" by the band Tribe 8, which is – as will be explained later on – an excellent example of queer-feminist politics of a punk rock band. This article focuses on queer-feminist punk – also known as queercore, homocore or dykecore – music, its lyrics as well as performances and sound. -
An Ecological Approach to the Case of Queercore
5.5. Conflicts, integration, hybridization of subcultures: An ecological approach to the case of queercore Vincenzo Romania1, Fabio Bertoni2 and David Primo3 Abstract This paper investigates the case study of queercore, providing a socio-historical analysis of its subcultural production, in the terms of what Michel Foucault has called archaeology of knowledge (1969). In particular, we will focus on: the self-definition of the movement; the conflicts between the two merged worlds of punk and queer culture; the “internal-subcultural” conflicts between both queercore and punk, and between queercore and gay\lesbian music culture; the political aspects of differentiation. In the conclusion, we will offer an innovative theoretical proposal about the interpretation of subcultures in ecological and semiotic terms, combining the contribution of the American sociologist Andrew Abbot and of the Russian semiologist Jurij Michajlovič Lotman. Keywords: queercore, theory, subcultural conflicts. 1. Introduction Since the foundational works of Hall and Jefferson (1975), Irwin (1977) and Hebdige (1979) the theorization about spectacular youth cultures has undergone a deep theoretical revision, regarding their relationship with locality, virtuality and translocality (Bennet and Petterson, 2004); the definition of actors involved in the art worlds (Becker, 1982); the production and reproduction of idiocultures (Fine, 1979; Kotarba, Fackler and Nowotny, 2009). Scarce attention has been paid to the conflicts, negotiations, hybridisations between subcultures. The very large sociological literature about these topics, despite its variety, has some common features. Firstly, it is partially or totally self-referential. While subcultural studies use macro- sociological concept to interpret subcultural phenomena and conceptual problems, very seldom this kind of literature tries to give life to a more general approach to culture, social stratification, and identity theory.