Manifesta: 1) Good, passionate music/art CAN save lives. 2) Everyone’s writing/art/music deserves to be heard/seen/read at least once. 3) We have the right to be heard Fuck Censorship!! 4) We have the right to create our OWN STORY on OUR terms. 5) We refuse to accept corporate, sensationalist, exploitative BULLSHIT as music. 6) We refuse to tolerate bullshit like sexism, homophobia, prejudice, or oppression in art/music. 7) We want to provocative, controversial, and LOUD. 8) We want autonomy over our MINDS, BODIES, and THOUGHTS. [Propaganda is a lie.] NO COMPROMISE. NO SURRENDER. NO FUCKING SHIT. _____________________________________________________________ Contributors: JENN ENDLESS: attempts to create things that a monkey could do better. ANITA STATIC: writes lame poetry and terrible fictional stories. _____________________________________________________________ PARDON OUR MANNERS, WE FORGOT TO INTRODUCE OURSELVES: We come from this town called Chicago. Do you know it? kinda big.
It’s
Jenn likes: punk, shoegaze, metal, grunge, good books, vegetarian food, Europe, red lipstick, fast cars, guitars, painting, pasta, Brody Dalle, and record stores. Anita likes: passionate people, glitter, books, Courtney Love, hand-written letters, concerts, smart people, typewriters, rock docs, black coffee, alcohol, and makeup. Jenn dislikes: the cold, mornings, meat, bigots, and beer. Anita dislikes: hypocrisy, bad manners, smartphones, small talk, and scented candles. SHAKE OUR DAMN HANDS.
“90% Glitter, 10% Body Fluids” – Glam Rock Playlist 1)Bay City Rollers – S-A-T-U-R-D-A-Y NIGHT! (Rollin' 1974) 2)David Bowie – Rebel Rebel (Diamond Dogs 1974) 3)New York Dolls – Trash (New York Dolls 1973) 4)Kiss – Detroit Rock City (Destroyer 1976) 5)Suzi Quatro – Daytona Demon (Single 1973) 6))Alice Cooper – Eighteen (Love it to Death 1970) 7)T.Rex – Mambo Sun (Electric Warrior 1971) 8)Lou Reed – Satellite of Love (Transformer 1972) 9)Mott the Hoople – All the Young Dudes (All the Young Dudes 1972) 10)Queen – Killer Queen (Sheer Heart Attack 1974) 11)Gary Glitter – Do You Wanna Touch Me? (Touch Me 1973) 12)Roxy Music – Virginia Plain (The Numberer 1972) 13)Sweet – Ballroom Blitz (Desolation Boulevard 1975)
[UNDERGROUND BAND REVIEW] Band: HYSTERICS Label: M’Lady’s Records Hometown: Olympia, WA The latest, badass, hardcore EP to be released recently comes from a small-town in WA called Olympia. It’s the same town that spawned Kill Rock Stars and Bikini Kill in the early 1990’s and the place where Nirvana dwelled before they conquered the world. Twenty years later, Olympia is still the site where awesome indie bands can be found, like the Hysterics – an all-girl hardcore band that plays loud, fast, and feminist punk rock. The band, which is signed to M’lady’s Records, an indie/feminist label from Brooklyn, New York, has brought back distortion and sardonic lyrics to rock n’ roll, and they’re non-compromising female musicians who aren’t afraid to be provocative – they sing about political and social issues in a way that seems to be inciting a riot [or at least, inspiring us to get up off our asses and do something]. There hasn’t been a chick screaming in punk rock since Brody Dalle! They infuse the feminist overtones of Bikini Kill with hardcore riffs similar to L7, and they even created a logo synonymous with Black Flag’s – the four black bars are modified into four bloody tampons. The Hysterics have managed to capture the attention of indie pioneers like Kathleen Hanna and Tobi Vail [Bikini Kill] and Calvin Johnson [Beat Happening, K Records] as well as attracting the attention of BitchMedia, so they must be doing something right. Writers and listeners have compared them to the controversial Russian punk group, Pussy Riot, though some argue their music is a bit less nihilistic. The band has been busy touring and recording. This last February, they released their second EP, “Can’t I live?” a follow-up to their self-titled début EP released in September 2011, which is currently out-of-print. Recently, they’ve been celebrating the release of their EP, playing shows between Olympia and Seattle, and they’re embarking on a 30-date tour across Europe this summer [including one date in the town I used to inhabit, Bordeaux, which I’m bummed about]. This tour follows extensive touring that has already crossed back and forth across the USA. You can’t even find them on social media, and that’s punk. Check out their music -------> http://mladysrecords.bandcamp.com/ Check out a show -------> http://hystericsoly.blogspot.com/
The Norwegian black metal scene is probably the most intense shit I've ever seen. Plagued (or blessed depending on who you ask) with murder between musicians, suicide, church burnings, extreme cases of self harm, violence, dead animals, and satanism, you cannot for a second doubt the feeling that goes into it. There are things you can't fake, and with album covers of dead band members and the amount of self mutilation put out on display, it will make you realize there's a whole world out there you were never aware of. A completely black world. Always the one with a morbid fascination for all things extreme, I've always found it all to be interesting. I've seen documentaries, I've followed the saga of crazy things that have happened on the scene, but I've never actually sat down and listened to the music. Yeah, I admit having my own little interest in death but when that happens I listen to some Leonard Cohen or Joni Mitchell, not bands like Mayhem or Emperor. I've always wondered what a little new waver like me has been missing out. However, I've never liked metal very much. It's just never been for me. It's very straight forward. From the beginning the anguish is there, during the solo the anguish is there, and at the end the anguish is still fucking there. It's fast, it's dark,and you scream. That's it. To those that may listen to black metal, I apologize if I sound completely ignorant but coming from a different music background it kinda just intimidates me a bit. I guess I'm a pretentious little bastard and I like my music to have double enterdes and abstract lyrics. I like songs that have meanings that creep on you slowly. Things that are so beautiful that it aches. So I wondered what would happen if I replaced my music with just black metal for a day. I've documented every hour I spent listening to black metal with just some notes and reactions. Feel free to descend down this dark hole with me. 3/11/14 – 1:00 pm First Track: Mayhem- Death Crush Second Track: Gorgoroth- Prosperity and Beauty Third Track: DIMMU BORGIR - The Sacrilegious Scorn Fourth Track:Burzum - Dunkelheit I've realized that it isn't the actual instrumentals that bother me. When listened to alone, it's actually quite good. I can hear traces of punk which makes it catchy to me. It's the vocals. The singers groaning pisses me off. However, the lyrics are actually more profound than I thought. 2:00 pm I've strayed from my original path and some how have ended up watching Metalocalypse. I've failed all of you. With my experiment ending on a completely disastrous note, I do have this to say about Black Metal. I can see why there would be individuals who immerse themselves within it. It's very violent and the anger that comes with it can be good in moderation (as crazy as that sounds). The emotion is universal, everyone's got it, some more than others or vice versa. Black Metal completely subversives itself into it and gives it's audience a feeling that's relatable and expressive. It gives them an outlet to cling to. You may not be able to scream, but that singer sure fucking can. He can do all the screaming for you and your the one that ends up relieved. If it was left at that, that would be fine but it's the level that the anguish is taken by both the bands and fans that makes it disturbing and unfortunately, makes it what it is. Do I think Black Metal would have gone off to become as popular as it has if the element of danger wasn't a part of it? Probably not. Can it survive without it? Yes, but it definitely would lose alot of it's appeal and glamor, which is something that a lot of people appreciate about it. Despite my lack of will power there is something I've taken away from my one hour exposure to videos of crucified women and pig heads on sticks and thatis that I completely exaggerated the formula of it. It isn't just made up of just fast playing, darkness, and screaming. No, it's also made up of black makeup and terribly directed music videos, which is something I totally respect. However, when put together it makes it kinda cheesy. Just saying.
COLLAGE BY:
JENN ENDLESS
YOU SHOULD KNOW WHO THESE BANDS ARE, BUT JUST IN CASE: [L TO R, TOP TO BOTTOM] MOTöRHEAD, SMASHING PUMPKINS, NIRVANA, SLAYER, GUNS N’ ROSES, SONIC YOUTH, L7, SEX PISTOLS, HOLE. GO FORTH AND LISTEN..
Pucelles Enragées @ RHPS – 15 November, Dekalb, IL Rocky Horror Picture Show – a sexually liberal, 1970’s cult classic and a parody of horror and science fiction films starring a self-proclaimed “transvestite” from Transylvania. It’s been one of the longest-running, B-list, midnight films in history – so long that even my parents know and are able to quote almost all the lines from the film. It’s a mixture of glam rock, comic books, and horror movies – in other words, all facets of culture that conservatives despise and Anita Static and I love. We arrived at the Egyptian Theatre in Dekalb, IL, for the 8 pm showing. I was a virgin to the show [though I hadn’t painted a bright, red V on my cheeks] and I was surprised that the RHPS is more of a live-action, theatre show more than a film where you have to be silent. The night began with an initiation ceremony for all the virgins, which required dancing and answering strange questions about first sexual experiences and proper blowjob technique. During the opening credits, some live-actors jumped into the crowd and gave audience members a lap dance. Most of the audience had obviously seen the RHPS many times before, and the general culture of the crowd was androgynous – guys were dressed in pink skirts and tights; women danced around in fishnets and tight, leather lingerie. Unlike Anita and I, most of the audience knew almost every line in the film, and some of the drunker viewers shouted dirty jokes and sexual innuendos between the characters’ lines. Someone shouted, “What color’s you dick?” right before the criminology man, who narrated the film, mentioned the character “Magenta.” Basically, RHPS is the one film you can go see where it’s acceptable to be as loud and obnoxious as you want. Between audience shouts, live-stage actors running through the crowd, and the random bursts of toilet paper and rice being thrown into the crowd, I didn’t exactly understand the RHPS storyline, but that wasn’t the point. The Rocky Horror Picture Show is more an experience that appeals to the senses in the form of memorable scenes, costumes, and one-liners, than a logical story. The two main characters, Brad and Janet, become lost and stranded on a rainy night, and they need to find a phone. Enter a hilarious parody of a creepy castle complete with a “transvestite” from Transylvania as its master. Dr. Frank N. Furter, the transvestite, has created a Frankenstein-like man called, Rocky Horror, a buff but mostly moronic creation. The film has many catchy, musical numbers, which most everyone knows by heart. RHPS brings together a diverse range of people, coming from different sexual identities, cities, and generations for one night of dirty jokes and B-list, horrorfilm parody in a large theatre. It felt like a 2-hour party where anybody could wear face paint, fish nets, lingerie, or skirts and swear to their heart’s content. It’s one of the few places where public inebriation is almost acceptable [the drunk people have the strangest and most amusing dirty jokes, anyway, with all inhibitions lost]. Somehow, the RHPS has managed to endure the fickle, American attention span since the mid-1970’s; it’s a cult-classic that has continued to pervade the consciousness of worldwide sub-culture for years.
Yeah dude , GN’R & Nirvana are overrated , but I ♥ ‘em. You’re probably thinking one of three things – Guns N’ Roses are corporate whores, Nirvana was a whiny grunge band, or, if you’ve matured in any sort of way since youth, you’re wondering why this argument hasn’t yet been laid to rest. In impressionable teenage-dom, I liked Nirvana, and ONLY Nirvana. Guns N’ Roses were THAT band that had signed to a major label whose music was 50% influenced by their cocks and 50% by an excessive amount of inebriation. They were the quintessential rock n’ roll partyers – sex, drugs, and rock n’ roll – and the antithesis of socially conscious in any way. Nirvana was frustrated with any sort of effect that sounded mildly “produced” unless, of course, the sound guy happened to mention to Cobain that “John Lennon did it.” Nirvana concentrated on radiounfriendly music and was only convinced to sign to a major after Sonic Youth had assured them it was okay. The two bands were, in many ways, alike. While the content of their music is inarguably different, both were part of a rock era that participated in a large heroin intake [though not all members of course] and other drugs. Nirvana probably respected women more, but both bands experimented in the realm of androgyny – from makeup to dresses and bleach-blonde hair. They both inspired fashion statements. Not to mention BOTH bands have cited Black Flag, Black Sabbath, Led Zeppelin, KISS, Aerosmith, Sex Pistols, and AC/DC as influences at one time or another. GN’R could’ve given less of a fuck to be concerned with writing “radio friendly music”; they did what they wanted, unapologetically. In fact, Cobain seemed to care a lot more about others’ opinions despite his “fuck-you” persona. GN’R just got lumped in with loads of other inferior “glam” bands perchance because they happened to be from LA. Nirvana has been called, “The Guns N’ Roses it’s okay to like.” In 1992, the biggest rock-music rivalry, between GN’R and Nirvana, culminated in a backstage altercation at the MTV VMA’s. Cobain’s wife, Courtney Love, shot some jeering insults towards Axl Rose which resulted in Rose threatening to kick Cobain’s ass if he “didn’t shut his woman up.” Duff Mckagan got in Krist Novoselic’s face; remember everybody’s probably on something here. Two years later, Duff and Cobain, bloated and hopeless on drugs, caught a flight on the same plane to Seattle. They were both children of the dreary, rainy weather – before Duff moved to LA in the 80’s, he played in influential, Seattle hardcore bands that later influenced the burgeoning “grunge” scene. They’d both hit rock bottom within the month, but one would die and the other turn everything around. It could be argued that Guns N’ Roses paved the way for grunge. Nirvana’s and Guns N’ Roses’ premier videos [“Smells like Teen Spirit” and “Welcome to the Jungle”] both occupied the most obscure spot on MTV’s programming – like 5am – before viewers demanded to see the videos again and again, and the bands were selling millions of records. Alice in Chains and their 1990 single, “Man in a Box,” wouldn’t have been possible without Guns N’ Roses. Period. GN’R didn’t censor their music, and they paved the way for Layne Staley’s haunting, drug-fueled lyrics and a punk-influenced band like Nirvana, which labels had been unwilling to touch since the Sex Pistols explosive antics. Eventually, the “underground” grunge movement became over commercialized itself, so why do we bother with labels? Guns N’ Roses wasn’t as righteous nor had poetic lyrics, but all the guys in that band could play their instruments well. Back in the day, rock n’ roll was dangerous, and people made money because theyfucking rocked [most of the time]. Let’s concentrate our hatred where it’s needed, ok? [hipsters & boy bands]
Tell Me What to Swallow: The Art of Visual Kei (ヴィジュアル系) If Punk, Goth, and Glam Metal had a ménage à trois after a long night of slinging back some bottles of sake in the middle of Japan's red light district, Visual Kei would be its bastard child. While Lolita (the sub culture that can be found on the other end of the cute to hardcore spectrum) is considered the lovable girl next door, Visual Kei can definitely be said to be the sultry bitch of the block. Originating during 1980's Japan, adopting the slogan of "Psychedelic violence/Crime of visual shock" created by one of the pioneering bands of the movement X Japan, Visual Kei was Japan's answer to America's own glam metal movement that was, at the time, hitting its peak in popularity. Think bigger hair, flashier costumes and the androgynous aesthetic kicked up a notch. As a former Visual Kei fan myself, I can tell you that the fashion associated with it is a huge part of not only it's appeal, but of the music itself. I remember putting on my heavy black eyeliner and feeling like a gothic queen, and that's the whole purpose behind what the fashion is. There is no set archetype, the genre as a whole isn't expected to wear a certain type of leather jacket, they can wear heels instead of boots, make up or no makeup, it doesn't matter. The idea of Visual Kei is to to shock in order to make people question what is normal and let me tell you, for about 2 years in high school I made A LOT of people question. A huge component of the musical aspect of the genre is that it is almost impossible to only pinpoint one source of influence to it. Which is pretty much the big reason why the style of every bands aestetics is pretty different from one another. It often depends on the bands mood which makes is so fucking entertaining. The switch of punk to industrial, or electro pop to heavy metal is smooth, making it easier for anyone to find a certain song or band that most fit their taste. The breakdown of Visual Kei can be pretty complex since you have branches of certain bands who focus more on the cute, the classic, or the dark, but no matter the style, they each fall under Visual Kei. Also, fun fact, the bassist of any Visual Kei band is essential. They don't fade into the background. they aren't inaudible and are considered as important as the lead guitarist. To me, that's pretty rad. Let's move on. You see, what made Visual Kei so much more accessible than "overseas rock" at the time was positive crowd interaction and crowd participation. While a lot of acts outside of the genre detached
themselves from crowds by sticking to emotionless playing or going the completely opposite way by promoting the expression of anger and violence by yelling at audiences or getting into altercations with them for the hell of it, Visual Kei took a more humble route. They're whole thing was about catering to their audience. With this in mind, the use of fan service was created. They play along with every fans fantasy. They hug, they tease one another, sometimes they even make out a bit once they realize that it's a dream many members of the community long to see. Remember kids, it's all about shock value and the concept of fan service walks that line of catering and obscenity in a still conservative Japan. All that's been stated so far in this article are facts. Facts don't create interest in a sub culture. It's opinions and perspectives. What I'm trying to get at is, all of these facts I'm shoving down your throat (hence the title “Tell Me What to Swallow) is supposed to amount to something. Now that you know the basis of it all, now we can get to the point. How is all of this an art? It’s a completely subjective topic. Yeah, each aspect of Visual Kei can be seen as art I suppose, but when all these elements are put together, the impact is so much more great. When you really think about it, the act of even being able to balance a trend and musical genre, and a whole fan base that comes from pure creativity and originality is an art in itself. Everything has an underlying to it, layer upon layer, and the more you remove each layer the more you find these hidden details and genuine work that goes into it. In this particular scene, the whole body is seen as a canvas. The idea of this is obviously not new, but the way it’s approached is interesting. Fashion and makeup isn’t an expression but rather an extension of an individual. Those are two completely different things. Expressing an emotion through clothing to try and convey a certain idea is one thing but simply stating who you are through clothing is different. Instead of searching for who you are, you already know who you are. It’s a confidence that appeals to me about the whole fashion of it. The music, lyrically, is straight poetry. With the age-old feud of new school vs. old school, fans may say the writing skills of most bands aren’t up to par now than it was, say, during the second wave of Visual Kei in the 1990’s, but that’s a whole different discussion for a whole different article. It’s all emotion driven, and that isn’t something that can be easily done if you lack a sense of empathy. The real unity between artists and fans are not to common, and now that I’ve grown out of the scene I find it to be something commendable because although unique, the genre does what music is supposed to do. It reminds everyone that you have the right to riot, love, and question because the end of the day, things aren’t as bad as you think. The language of music is universal and language barriers are non-existent. The feel of it is all that matters. That to me is art. Dark. Heavy. Black. Gooey. Art. MINI VISUAL KEI PLAYLIST: 1) Filth in the Beauty – The Gazette; Stacked Rubbish – 2006 2) Escapism – An Café; Shikisaid Moment – 2006 3) Rodeo – Dué le Quartz; Rodeo – 2002 4) Ascendead Master – Versailles; Jubilee – 2010 5) Art of Life – X-Japan; Art of Life – 1993
The Breeders with Speedy Ortiz @ The Metro – 14 December Anita Static and I wandered carefully through the slushy snow in Wrigleyville while carefully avoiding the drunk crowds. We weren’t wearing our favorite team’s colors – in fact, we probably couldn’t answer the simplest questions about Chicago’s sport’s teams. The Metro, on Clark Street, was our destination. Loads of our favorite bands had played since the venue’s inception in 1982, when it was called “The Cabaret Metro”: Sonic Youth, the Ramones, The Smashing Pumpkins, the White Stripes, Nirvana, etc. Tonight the Breeders, the band Kim Deal formed when she could no longer stand the Pixies’ shit, were on the bill. We showed up early enough and I managed to find a spot in the third row; at least, I could see parts of the stage. The openers for the night, Speedy Ortiz, a band from Boston with a dissonant and melodic sound reminiscent of Sonic Youth, the Pixies, and the Breeders, complete with two Fender jazzmasters, stepped onto the stage. Disregard what critics say about them being 90’s rock wannabe’s – they’re pretty fucking good, and if it’s emulation, they’re not emulating a bad era of rock music. Speedy Ortiz started as singer Sadie Dupuis’ solo project in 2011 in Northampton, MA. After finding band mates, Speedy Ortiz released its first studio album, Major Arcana, in 2013 and has been extensively touring across the USA ever since. In early 2014, they entered the studio with Paul Kolderie [Pixies, Hole] and released the “Real Hair” EP. This concert was one date in the “Last Splash” 20th Anniversary tour, the Breeder’s 1993 album, and at each date, Kim Deal and company played through the album in its entirety. Tonight, it was rumored, they would also play their début album, “Pod,” the rawer of the two albums, from start to finish. The band first gained recognition as the opening act on Nirvana’s 1992 tour in Europe, For those of you unfamiliar with the Breeders, the band doesn’t dress like “rock stars,” and they never have. No bright, flashy garments, dyed hair, or spiked jackets because they don’t need the gimmick. The set started, and the instantly recognizable bass riff of “Cannonball,” the album’s 1993 single, filled the cavernous hall. Kim Deal still has the most ethereal voice. It’s retained a sweet quality, unlike the smoke-damaged vocals of other female vocalists. After having played through Last Splash in a half-hour, the band walked offstage. The crowd waited patiently for them to return – they weren’t skipping out on us after only a half-hour.. right? I probably would’ve started a riot, especially after paying $28.00 for a show. After five minutes of standing Kim, Kelley, Jim, and Josie returned. The moment I was waiting for – the entire play through of their first record, “Pod.” At some point during the set, Jim and Josie switched instruments, and Josie kept a solid beat at the drums through the entire song. For some reason, Kelley Deal’s guitar had a perpetual problem with staying in tune the entire night. After the epic half-hour that is their first record, the Breeders exited the stage, but not before throwing their picks and set lists to some of the lucky bastards in the front row. I tried to jump up there, but some girl’s ridiculously TALL boyfriend snatched Kelley Deal’s set-list before I even had the chance.
Punk is for the observers who no longer want to be castrated for BEING an
observer. I don't mean observing in the sense of recognizing the poison and refusing to touch it because you don't want to get your hands dirty and get all of that shit to seep in your pores. With punk it's all approached in a different way. With the creation of corruption and ignorance, there are few who notice it and even fewer who act out against it. That's the best kind of observation. That's punk. Sensitivity intertwined with fucked up imagery. We all know good punk comes from blood tears and sweaty cum. If you don't feel the thing dribble out of every possible opening from your body, then your doing it wrong. I don't give a fuck how "punk" you are, you and I unfortunately have insecurities. Punk just packages it in a way that doesn't make you feel so goddamn lame about it. With the introduction of 3 chord raunchy lullabies, many pinpoint the punk movement as one of the music genres that defined a generation and created, just like the flower power culture of the 60's, a space for the lost, the emotionally oppressed, and the masturbators to find running partners in. It's a space that has been expanded over the years. A space that has been cut into, shared, and ultimately scattered all over the place. For every shitty concert venue that charges $40 dollars and up to see a show, you've got a basement that makes up for it with some good beer and some great music. Punk isn't dead, and neither is a lot of other genres. I hate to tell you, but it's all recycled just like fashion. Give it another couple months and surf punk will become big. Give it a year or two and it'll be gone. That's just how that shit works. Bands come and go. Basements open, get trashed, and close down. How about the attitude? How about the open mindedness? Well, you'd be surprised. What I'm about to say isn't a statement, or even a concrete opinion. It's a question that I'd gladly love for you to answer if you got an opinion on it. (anramirez52@gmail.com) Just don't be a dick about it or I'll go over your house and blow up your toilet. Has punk become its own clique? Exclusive to the loud, the stoned, and the well-dressed? "Oh Anita don't be so fucking cynical." Yeah, I know, but hear me out. I was raised on Dee Dee Ramone. You might have been raised on Darby Crash, Patti Smith, or GG Allin or whoever else. So, what punk is is completely subjective to each and every one of us, but in my opinion I believe it might be because the pop culture of today has taken the route once again (remember recycling?) of romanticizing drug use, alcohol use, and self-destruction, that tons of people make the mistake of linking being fucked up with being powerful and interesting.I'm not going to say what "REAL PUNK" is nor am I going to say those people fall under the category of "POSERS". I believe in my own two categories. Idiots and non idiots. I'll let you decided what I think those type of people are. Which brings me to my next question. Does being shy, straight edge, or your fashion choices make you any less of a punk? Does it mean you can't hold your own because you won't yell at the cops that they're assholes or because you won't smoke some weed? We live in 2014. It should be an easy question to answer. Once again, you'd be surprised. From my own experiences, it can mean exactly that, which is a pretty sad state of affairs.I myself have been reprimanded for not wanting to mosh or not wanting to take a drink. To them I was boring, but to myself I was enjoying the music. I guess it's not enough to just want to listen to the songs. Punk's become a package. You've got to have the attitude, the love for the music, the fashion. If you aren't a triple threat, you aren't shit apparently. A scene that was once an escape from the unnecessary judgment of society that came in the form of demeaning standards, bullying, and ridicule for non-conformers has become a society itself that has these same exact things. Except it's reversed. The less angry you are, the more your shunned out. Leaving some out in an isolation and deprived from a community. Which is pretty fucked, don't you think? I look forward to being proved wrong that some subconscious hierarchy doesn't exist. It would honestly make my day. [DRAWING BY ANITA].
1) Orange Rolls, Angel’s Spit– Sonic Youth; Dirty – 1992 2) Sick of It All – the Distillers; Sing Sing Death House – 2001 3) Cherry Bomb – the Runaways; The Runaways – 1976 4) Bruise Violet – Babes in Toyland; Fontanelle – 1992 5) Plump – Hole; Live Through This – 1994 6) 8-Ball Deluxe – 7 Year Bitch; Sick ‘em – 1992 [I prefer version on Kill Rock Stars Compilation] 7) Gloria – Patti Smith; Horses
- 1975
8) Her Again – Sleater-Kinney; Sleater-Kinney – 1995 9) Brat Girl – Bratmobile; The Real Janelle [EP] – 1994 10) Rebel Girl – Bikini Kill; Pussy Whipped – 1994 11) Precious – the Pretenders; Pretenders – 1979 12) Diet Pill – L7; Bricks are Heavy – 1992 13) Hook – PJ Harvey; Rid of Me – 1993 14) Only Happy When it Rains – Garbage; Garbage – 1995 15) Big Mouth – the Muffs; the Muffs – 1993 16) When I was a painter – the Breeders; Pod – 1990
L to R: Brody Dalle [the Distillers, Spinnerette], Joan Jett [the Runaways], Kat Bjelland [Babes in Toyland], Courtney Love [Hole], Kim Gordon [Sonic Youth, Free Kitten], Kathleen Hanna [Bikini Kill] INTERNATIONAL WOMEN’S DAY 2014.
Riot Grrrl is a punk rock movement that developed in the late 1980’s and early 1990’s; band like Bikini Kill and Bratmobile freed the stage to allow women to talk about women’s issues (rape, abuse, discrimination in music, bodily autonomy, sexuality, patriarchy) and other social movements like environmentalism and vegetarianism. It was a feminist response to the primarily masculine mentalities of punk rock and music in general. This movement developed in the relatively sheltered northwest USA where indie labels, like K Records, Kill Rock Stars, Alternative Tentacles, and Sub Pop were breeding a new type of band to counteract the corporate rock that had been coming from London and Los Angeles. The bands all functioned according to a DIY ethic where bands created their own fanzines, buttons, and posters in order to promote their music, a sub-culture advocating for social activism. Much of the movement was centered around the artistic and progressive towns in the northwest, like Seattle, Olympia, Portland, and San Francisco (which had long had their own renowned “gay” neighborhoods, like Capitol Hill and the Castro) where students from such epicenters as the Evergreen State college played punk rock according to their own rules, without room for any oppressive bullshit like sexism, racism, or homophobia. The new breed of bands from the northwest (or at least distributed through one of the indie labels in the northwest) gave birth to an unprecedented period where taboo subjects like women’s issues were finally allowed to be talked about, and at the same time, queer voices were allowed to speak out loud. They continued the legacy of artists like the Germs, the Runaways, and Joan Jett who had previously experimented with queer subject matter in the early punkrock era. The seminal “queercore” album that announced the arrival of bands like Bikini Kill, 7 Year Bitch, and Tribe 8, There’s a Dyke in the Pit (1992) was released by Outpunk records, at the same time that queer voices were finally heard in the movie theatre by the indie film makers who were part of the New Queer Cinema movement.
Like the riot grrrl bands who opened the door for them, queercore bands sang about their relevant issues, queer issues and queer culture; they talked about the alienation, discrimination, and the violence they faced everyday by being “out” members of the queer community and their struggles with identity and human rights. The early 1990’s were the golden age for queer art and expression – New Queer Cinema filmmakers shared queer culture on the screen at indie film festivals across the United States, queercore punk rockers shared their frustrations and triumphs on the stage, and photographers, like Catherine Opie found new, innovative ways to express their culture and unveil a formally obscure group of people for whom pop culture only reserved space in the darkest corner of the closet. Eventually the spotlight of American pop music was directed to the “Northwest Punk” from cities, like Seattle and Portland, due to the sudden and explosive success of “alternative rock.” Bands like Nirvana and Mudhoney conditioned the mass audience of the populous for substance-filled, socially-conscious lyrics. The riot grrl and queercore bands were suddenly touring with widely renowned artists – Bikini Kill in Europe with Joan Jett (1993) and Pansy Division with Green Day in the United States (1994). With the sudden exposure, riot grrrl and queercore bands, like Adickdid, Team Dresch, Bikini Kill, 7 Year Bitch, Tribe 8, Pansy Division, the Frumpies, Excuse 17, Heavens to Betsy, Bratmobile, and Sleater-Kinney appeared on more than just compilation albums created by zine writers (the most of famous of which probably being the trilogy of compilations from Kill Rock Stars in the early 1990’s), but started releasing their own full-length LP’s. America was forced to be socially aware for once, albeit a depressingly short time, and riot grrrl/queercore, along with other alt-rock bands, brought a new sound, influenced by noise-rock, punk, and indie rock, to that masses that demanded an end to oppression and which refused to remain silent a moment longer. many members of the riot-grrrl/queercore bands were out lesbians or bisexuals. Though many weren’t associated with the riot-grrrl or queercore movements, the 1990’s were the zenith period of girl-bands; Babes in Toyland, Free Kitten, Hole, the Breeders, L7, Sourpuss, and Veruca Salt all proved they could rock n’ roll as well as guys. After the backlash and over commercialization of alternative rock, which had severely watered down the genre by the mid- 1990’s, sociallyconscious bands between to disappear under the scintillating shadow of <gulp> pop-stars, but the tradition still survives in the underground through loyal fans and indie record labels like Kill Rock Stars and M’lady’s in Portland. San Francisco, Portland, and Seattle still remain today some of the most liberal and open-minded places in the country, and the inhabitants of those bike-riding, socially-conscious cultures, surrounded by vegetarian restaurants, are still writing music with substance, such as the Hysterics from Olympia, WA, who have released two EP’s on M’lady’s Records.
“Too Fast For Love” – Heavy Metal Playlist 1) “Paranoid” – Black Sabbath; Paranoid – 1970 2) “Creeping Death” – Metallica; Ride The Lightening – 1984 3) “Spirit in Black” – Slayer; Seasons in the Abyss – 1990 4) “Welcome to the Jungle” – Guns N’ Roses; Appetite For Destruction – 1987 5) “Ace of Spades” – Motörhead; Ace of Spades – 1980 6) “Be Quick or Be Dead” – Iron Maiden; Fear of the Dark 1992 7) “Domination” – Pantera; Cowboys from Hell – 1990 8) “Slave to the Grind” – Skid Row; Slave to the Grind – 1991 9) “Live Wire” – Mötley Crüe; Too Fast for Love – 1981 10) “Lucretia” – Megadeth; Rust in Peace – 1990 11) “Dam That River” – Alice in Chains; Dirt – 1992 12) “Suicide Solution” – Ozzy Osbourne; Tribute – 1987 13) “Rapid Fire” – Judas Priest; British Steel – 1980 14) “Armed and Dangerous” – Anthrax; Spreading the Disease – 1985
Indie labels and indie music are the future. No more fat dudes who are too rich to care making decisions on which bands/artists are the music innovators. Basically rock n’ roll died in about the year 1996, right before the wave of pop music that invaded our sad, pathetic souls in the late 1990’s. I’m not even going to mention the groups because you’ve probably already listened to them, and you don’t want to be reminded of your shame. Since then, we’ve evolved into an era of the most down-trodden, worst and whiny-hipster bands of all time that are WAY more concerned with their grooming their faces than rock n’ roll. However, while MTV and most of the radio are complete and utter bust, and there’s almost no hope anymore, there’s always the internet and “fandom.” At first glimpse, most people notice the obsessive and creepy fans [and there are loads out there]. This is the type of fan that has a ridiculous and usually sexual fantasy with one particular musician. Slash from GN’R seems to attract a lot of them. But, when you’re feeling alone and wondering why no one seems to listen to punk or metal, or just rock in general, know some of rock n’ rolls biggest nerds still exist… out there somewhere. If they’re anything like me, they basically spend an obnoxious amount of time listening to music from the 70’s, 80’s, and 90’s, rarely willing to venture into most anything that has managed to seep into the mainstream in the last 20 years. Though, I’ll admit, there have been some notably good exceptions since the world passed into the second millennium: Brody Dalle kept punkrock in our faces with the Distillers, and Jack White from the White Stripes wrote some pretty awesome guitar riffs. Music nerds online still retain a sense of social consciousness and a do-it-yourself ethic. Some people care enough about animals to be vegetarian or create their own art/graphic t-shirts/buttons/zines etc. for Etsy, living a sort of alternative/liberal lifestyle that entails loads of vintage clothes and giving exactly zero fucks what anybody else thinks. That’s where indie labels come in: with the new recording software, almost anyone has the ability to create a garage/basement record, and friends can get together to promote the music they like without worrying about rich bastards mucking up their artistic integrity. Unfortunately, it’s usually required to move to a big city to get away from the dreaded “hobbyist” musician and <gulp> those awful people who say they like “everything” as far as music. Fuck them. When you’re finally there, though, people actually care enough about the musicians/artists they admire to be opinionated, and [bonus] they actually read good stuff [think Tolkien, existentialism, and beat poets]. Seriously, what do you do with people that don’t read? Oh, and smoking isn’t a fucking crime. Rock n’ roll can and will still change the world.