Weinstein 1991: Ch. 4. "Digging the Music: Proud Pariahs."
In this piece, Weinstein looks into the metal scene by using almost all of the ethnographic methods we have talked about in class. He attempts to describe the scene without judgment, because he says that "critics and researchers reveal an unfortunate tendency to interpret the audience in terms of the supposed merits of the cultural form it appreciates." He does mention many times throughout the article that liking metal is not the "cool" thing. People do not do it to fit in.
One thing that Weinstein observes about the metal scene is the fact that community is very important. It's not enough to be a "weekend warrior". Long hair is important because it is not something a person can get rid of in order to fit in to society. People need a "permanent stigmata".
Another observation Weinstein makes is that although the scene is named after the music listened to, it is not its meaning. The scene would not like anything just because it is deemed "metal". The songs must fit a certain lifestyle and mythology in order for metal fans to like it because they hold a set of values that sets them apart from the dominant culture.
Weinstein then focuses on the four dominant traits within the metal scene; male, young, white, and blue collar. He states that boys like metal more than girls because it celebrates the qualities that they have when they are young. Girls are more likely to be given stricter rules growing up, while boys have a freer rein. However, when they grow up, they are held by stricter rules. I'm not sure how much I agree with this area, but at the same time, it does provide an explanation for why adults may not appreciate metal. Metal is not about following all of the rules. Blue collar is involved because those in the lower middle class, are usually most aware of their social standing and do not want to be associated with the blue collar stereotypes. By using this stereotype, the middle class young fans can rebel against their parents and be everything their parents do not want to portray.
Next, Weinstein looks at "the music itself" by stressing the importance of the guitar riffs, followed by the lyrics, and meanings of songs. The guitarist is of the utmost importance to the bands.
An interesting point brought up in this article is why headbanging was invented. The metal scene could not redefine dancing as the punks did, and normally dancing is associated with sex in the Western world. As mentioned earlier, since the scene is heavily male dominated, dancing would not fit the heterosexual lifestyle it stresses. Therefore, headbanging is a form of dancing that the community can partake in, without being sexual at all.
Finally, Weinstein stresses that metal is not a passing fad. It has been around for awhile, because there will always be people on the outside of the mainstream who want to form a community of their own. The music of metal has been chosen to be a part of this community, due to the values they share. This music is not fun for many to listen to, it is loud, it can be grating, it is hard to dance to; the mainstream will not accept it. Therefore, those who want to be a part of this subculture, which stresses its differences from the rest, will always have a place to turn.
Discussion Question: Why are headbangers known to be so homophobic?
Thursday, March 26, 2009
Interview
I spoke with Alex, a 20 year old male who had traveled with me to Lollapalooza, and is a music director for WBRU, an alt-rock radio station. He was able to speak to some of the bands at the music festival.
Here is our interview in its entirety.
And here is a transcript from a portion of the interview.
Me: So what’s the atmosphere like at a music festival? Kinda changing topics a little bit.
Alex: Um, the most fun in the world! Um, it’s huh… it’s kind of like… a giant picnic.
Me: (laugh) Please explain.
Alex: Um, I dunno. It’s just, it’s outside! There’s, I dunno. It’s not really like a giant picnic, but um it’s an extremely positive, happy environment, like, everyone seems to be having a good time, umm, and… environment, environment, environment…um…
Me: People?
Alex: And there’s people enjoying it in like all kinds of different ways. Like there are definitely some people who were just hitting all the different things you can do and there are people, some people who seem like they are just like, you know spending all day chilling in the hammocks that are like set up by some hammock company. Um, and I think some people are definitely like running from stage to stage, others are camping out at the one stage to see their one favorite band so but I mean overall it just seemed, like a very positive environment, like people are just there to have fun and yeah. It’s just a really happy place.
Me: So, kinda like around the lines of having fun. So what was the substances scene like either legal or illegal, like who was taking them at what bands?
Alex: Okay, I mean, I’m not the best person to ask for this question, um, I mean. Legally they were selling um, beer obviously and then bottles of wine, which apparently was like, a pretty good deal for the money. Um and then, definitely saw some people smoking weed, not really in any sort of abashed fashion. Like, there was this dude and his girlfriend in this hammock, just kinda wrapped up and smoking like a piece. Like not a joint or something that was disguised, it was just like actually a bowl. Um, and there were definitely people who asked me for other drugs. I don’t remember exactly. I feel like ecstasy and acid. But there was definitely, you could tell, if you needed something you could get it. Um and basically Grant park for Lollapalooza turns into its own kinda little mini-city with like, food and people walking, like especially when you look at it like, cause there’s that big fountain in the middle. Um, it’s kinda like a community, so yeah, I mean that stuff is definitely prevalent and available. I’m not sure exactly ‘cause I went in through a media entrance. I had a media pass, and that was, my stuff wasn’t searched, so I coulda brought whatever the hell I wanted. Um there were some label reps I knew through the radio station I work at that supposedly had, I mean, mushroom brownies. Uhh, but they’re like big important people so they wouldn’t have any trouble. But um, I guess security wasn’t too intense, um, and yeah, they didn’t seem to want to really interfere, um, with much that was going on. Uh, they were kinda just hands off. The only time I saw security really get involved was at Rage against the Machine, telling people to like, “you need to take ten steps back and calm down or the band’s not gonna play anymore.”
Me: Good Answer.
Alex: Thank you.
Me: Have you seen any bands that um, like in both just a normal concert and then at a music festival?
Alex: Yes. Lots of them.
Me: Um, can you like pick maybe like three and then describe to me maybe like what made the shows different to you? Like how was a show different at Lollapalooza than compared to their own, by themselves?
Alex: Um, I think uh, one of the biggest factors is the fact that there are multiple bands slated to be on the same stage at different times. So, one example, I guess the prominent, one of the most prominent examples was Brand New, um, who I’ve seen probably three or four times before, I’ve seen them at Lolla, and I’ve seen them once afterwards. Um, and they were taking the stage rright before Kupe Fiasco, who was right before Rage against the Machine and the Rage against the Machine fans had already started you know marking their spots, and uh, the lead singer of the band, Jesse Lacey, knew they were there and was hassling the whole time. They were hassling him too, like holding up Rage shirts and just like, sticking up big middle fingers. But you could tell, he was definitely pissed off. And um, he actually ended up midsong, throwing his guitar into the drumset and just walking offstage and the band followed him. And that’s how that ended. But you could definitely tell that performance was heavily influenced by the crowd that was there.
Here is our interview in its entirety.
And here is a transcript from a portion of the interview.
Me: So what’s the atmosphere like at a music festival? Kinda changing topics a little bit.
Alex: Um, the most fun in the world! Um, it’s huh… it’s kind of like… a giant picnic.
Me: (laugh) Please explain.
Alex: Um, I dunno. It’s just, it’s outside! There’s, I dunno. It’s not really like a giant picnic, but um it’s an extremely positive, happy environment, like, everyone seems to be having a good time, umm, and… environment, environment, environment…um…
Me: People?
Alex: And there’s people enjoying it in like all kinds of different ways. Like there are definitely some people who were just hitting all the different things you can do and there are people, some people who seem like they are just like, you know spending all day chilling in the hammocks that are like set up by some hammock company. Um, and I think some people are definitely like running from stage to stage, others are camping out at the one stage to see their one favorite band so but I mean overall it just seemed, like a very positive environment, like people are just there to have fun and yeah. It’s just a really happy place.
Me: So, kinda like around the lines of having fun. So what was the substances scene like either legal or illegal, like who was taking them at what bands?
Alex: Okay, I mean, I’m not the best person to ask for this question, um, I mean. Legally they were selling um, beer obviously and then bottles of wine, which apparently was like, a pretty good deal for the money. Um and then, definitely saw some people smoking weed, not really in any sort of abashed fashion. Like, there was this dude and his girlfriend in this hammock, just kinda wrapped up and smoking like a piece. Like not a joint or something that was disguised, it was just like actually a bowl. Um, and there were definitely people who asked me for other drugs. I don’t remember exactly. I feel like ecstasy and acid. But there was definitely, you could tell, if you needed something you could get it. Um and basically Grant park for Lollapalooza turns into its own kinda little mini-city with like, food and people walking, like especially when you look at it like, cause there’s that big fountain in the middle. Um, it’s kinda like a community, so yeah, I mean that stuff is definitely prevalent and available. I’m not sure exactly ‘cause I went in through a media entrance. I had a media pass, and that was, my stuff wasn’t searched, so I coulda brought whatever the hell I wanted. Um there were some label reps I knew through the radio station I work at that supposedly had, I mean, mushroom brownies. Uhh, but they’re like big important people so they wouldn’t have any trouble. But um, I guess security wasn’t too intense, um, and yeah, they didn’t seem to want to really interfere, um, with much that was going on. Uh, they were kinda just hands off. The only time I saw security really get involved was at Rage against the Machine, telling people to like, “you need to take ten steps back and calm down or the band’s not gonna play anymore.”
Me: Good Answer.
Alex: Thank you.
Me: Have you seen any bands that um, like in both just a normal concert and then at a music festival?
Alex: Yes. Lots of them.
Me: Um, can you like pick maybe like three and then describe to me maybe like what made the shows different to you? Like how was a show different at Lollapalooza than compared to their own, by themselves?
Alex: Um, I think uh, one of the biggest factors is the fact that there are multiple bands slated to be on the same stage at different times. So, one example, I guess the prominent, one of the most prominent examples was Brand New, um, who I’ve seen probably three or four times before, I’ve seen them at Lolla, and I’ve seen them once afterwards. Um, and they were taking the stage rright before Kupe Fiasco, who was right before Rage against the Machine and the Rage against the Machine fans had already started you know marking their spots, and uh, the lead singer of the band, Jesse Lacey, knew they were there and was hassling the whole time. They were hassling him too, like holding up Rage shirts and just like, sticking up big middle fingers. But you could tell, he was definitely pissed off. And um, he actually ended up midsong, throwing his guitar into the drumset and just walking offstage and the band followed him. And that’s how that ended. But you could definitely tell that performance was heavily influenced by the crowd that was there.
Sunday, March 15, 2009
Performance Ethnography Essay
Not just about the music: Lollapalooza 2008
I heard from several people that Lollapalooza and other music festivals were “the best time of their lives”. But what makes this festival different from other concerts? As a twenty-year-old avid rock and indie concertgoer, I knew I had to see for myself what makes Lollapalooza so special. Could it live up to the hype?
Created by the lead singer of Jane’s Addiction, Perry Farrell; Lollapalooza first started as a tour in 1991. During the early 1990s, it drew crowds across the country, by having bands from a mixture of genres, including industrial, rap, and post-punk. Moreover, it differentiated itself from other musical tours by having non-musical features, such as a circus sideshow and tables for political and environmental non-profit groups. Farrell created the term “alternative nation” to refer to those who went, since most were not part of the dominant culture [1].
Unfortunately, as so often happens, the edgy bands that had once made this festival stand out in the early 90s, became part of the mainstream or passé quickly. In 1998, the festival disbanded as the result of not even being able to find a headliner. In 2003, Farrell brought the concept of the tour back despite weak ticket sales, and in 2005, it found its home in Grant Park, where it would stay, with increasing popularity each year to this day.
If I looked to my left, one of the main stages could barely be seen, since it was so far away. I knew, from the day before, that there were two other stages for bands that way, a stage devoted to DJ sets and dancing, a food aisle, a beer haven of sorts, and many other booths, many with an alternative flair. Close by was a shaded hammock haven, where concertgoers took a break from the hot sun. Next to the hammocks was an area (including a stage) dedicated to children younger than thirteen and their parents, called Kidzapalooza.
Kidzapalooza is just one the many ingredients that make this festival different from other shows out there; according to its website, it was started in 2005, as a “way to expose children to messages of kindness, happiness, respect, and self-discovery.” Whether or not this stage accomplishes this lofty goal, it adds to the demographics of the festival. While almost 75% of the crowd is between the ages of 18 and 34 [2], there is a definite presence of every age bracket, both older and younger. A 65-year-old man in a leather vest led what looks to be his grandson to get “tattooed” (actually face paint) at a booth at this Kidzapalooza.
Still, the majority of the festival is not at Kidzapalooza; it is at the main stages outside of this family-friendly haven. My friends and I split up at this point, and I ran over to the other side of the park to watch Does It Offend You, Yeah?, a band from the United Kingdom. They had an upbeat electro-rock sound, and with each song, the crowd seemed to get more into it, evidenced by the nodding of their heads to the beat. Whether from the heat, or something else, the band’s drummer had to leave briefly to throw up in the middle of the set. He came back, and the band continued on with just as much energy as before. I looked behind me during their last song and everyone was dancing. Most of the dance consisted of jumping up and down to the beat of the song, a few people singing along with the lyrics. Some people invoked different sweeping arm motions into their dance. Everyone looked to be having a really great time, usually with at least one companion. Lollapalooza was not simply about the music; it was about having fun and sharing the experiences with others as well. Very few appeared to have come alone.
Later that day, on the same stage, Iron & Wine played. His mellow, almost haunting melodies drifted over people as they sat on towels and blankets, smoke drifing up towards the sky. It was a completely different feel than that of Does It Offend You, Yeah?. It was here that I realized that anyone could make their experience whatever they wanted. On one hand, if they wanted it to be full of dancing, there were DJ sets and electronics bands. If they wanted more of a chill, indie flare, there were bands for that as well. Many different musical fans came all over, with at least one thing in common: they were here to have fun and listen to good music.
Note the crowd at about 3:02 in this video of DIOYY at Lollapalooza 2008:
There is also a crowd shot of Iron and Wine at 1:22 here:
Note the differences between the energies of the crowds, even though this was at the same stage (although on different days).
After many a band’s set, people took out the Lollapalooza booklet that listed the schedules and biographies of the bands, debating which bands to see and which ones they could miss. Many talked about what bands would be good at a festival, and which they should see on a separate tour, a topic I intend to discuss in a later post.
Another element of the festival that contributed to its uniqueness was the large amounts of substance use during the festival. Vendors sold beer in vast quantities, along with many bottles of wine. I was hesitant about drinking an entire bottle of wine in nearly 100 degree F weather, but others held fewer reservations. Although many concerts have alcohol and drugs, simply the length of time people had to be inebriated caused a different effect than a normal concert. In addition to these legal substances, almost any kind of drug imaginable seemed to be present. At the DJ sets, several people held signs asking “X?”, seeking or selling ecstasy to any who wanted it. Security pretended not to notice as I watched a group of twenty-somethings smoke marijuana from a bowl in the hammocks. As I previously mentioned, it was not very difficult to sneak in any sort of contraband. It was almost encouraged with this lack of actual security. The only time I saw anyone get involved was if one became sick or violent. Other music festivals, especially Bonnaroo, are noted to have the same lax policy on drug-use.
The festival appeared to be a musical vacation of sorts for those who attended. Indeed many who traveled far distances had to take time off of work and activities. Furthermore, it seemed to be a vacation from laws that normally rule society, specifically in terms of drug use. Although some people came specifically for just the music itself, most seemed to be perfectly content with the experience that comes with Lollapalooza, including the vendors, substances, and the beautiful Chicago skyline.
(Word Count: 1199)
*Names have been changed.
[1] http://www.wikipedia.org/wiki/Lollapalooza
[2] http://www.marketwire.com/press-release/Inquisite-768503.html
Monday, February 23, 2009
Fieldnotes #1- Premier US Rock Festivals
In this set of fieldnotes, I have decided to focus on what makes a rock festival different from other concerts. According to Wikipedia, a rock festival is a “large-scale outdoor rock music concerts, featuring multiple acts, often spread out over several days”[1]. The festivals that I have chosen to focus on (Bonnaroo, Lollapalooza, Austin City Limits, SXSW, and Coachella) all fit these criteria, but is this what defines them?
One important characteristic that separates these rock festivals from normal rock concerts are the parts that are not the music. For example, many of the festivals host comedians, speakers, and other events besides bands playing. Vendors line up and sell food and merchandise, and SXSW and Coachella include a film festival and an art festival respectively. Lots of foresight by concert planners is involved, due to the length and size of the festival. Without adequate facilities, such as food, water, and bathrooms, the concert will fail. At smaller, shorter concerts, these details do not make or break them, whereas they would at larger festivals.
Perhaps the greatest attribute of a rock festival is its ability to be separate from the real world. Due to its length, commitments such as work or school would have had to been moved or cancelled. A person immerses themselves in music and culture for several days, unattached to anything else. At several of these festivals, many people camp at the site for a few days. Physical barriers such as distance in the case of Bonnaroo, or a gate, in the case of Lollapalooza, keep the attendees of such festivals away from normal civilization.
As an example of the separation between worlds festival-goers may experience, I interviewed a friend who had been to both Lollapalooza and Bonnaroo via an instant message. He wrote: “drugs were basically legal there- it was awesome- the event staff would watch you take a hit of whatever you wanted-but do nothing about it”. This lack of law enforcement would not normally take place outside of the festival.
Furthermore, Urban Dictionary writes of a disease called “festival flu”, which is defined as: “An illness which inevitably sets in when one returns home from attending a music festival. Causes include: Between 2 and 10 hours sleep over a five day period, Living in your own dirt, Shouting and screaming a lot, Excessive consumption of both legal and illegal substances, Being too tight to buy food and hence going without for five days, Dehydration” [2] Concert-goers voluntarily experience these so-called causes of festival flu, in order to participate in the experience that being away from the rest of the world, with thousands of people who share an appreciation for music.
Talking to several people about the festivals revealed a type of “aura” these concerts exude. Although many concerts generate excitement, the mere fact that these festivals, are large-scale and spread out over several days contribute to the certain feeling many would describe when there. Being around many people whose goal is to listen to music and have a good time may be something that all concerts share, but festivals simply beat out normal concerts in sheer numbers (80,000 for Bonnaroo [3]; 225,000 for Lollapalooza[1] ; 65,000 for Austin City Limits[4]; 149,000 for SXSW[1], 50,000 for Coachella[5]). Not only is an attendee of one of these festivals surrounded by people who share similar musical preferences, but many have traveled from other states and countries to be there.
I would like to leave you with a quote taken from WBRU’s blog covering Lollapalooza 2008:
“Covered in the sweat of a thousand men and wearing a shirt that will probably never be wearable again, I exited Grant Park, this time at the same time as everyone else, as opposed to hanging around late to check out backstage, and I witnessed something remarkable. As the crowds pour out into the streets, there were random bursts of applause and cheers. I looked around to see what people for cheering for, and there’s nothing there. They’re cheering for nothing. Nothing, and everything that they just saw and experienced over the last two days. It’s exactly the feeling I would get walking between stages, the feeling of being completely ecstatic just to BE here, that I would just put my fists in the air for no apparent reason in a personal, private celebration. And here was everyone, doing the same thing, the cheers following us down streets and around corners. That’s what Lollapalooza is: un-containable excitement.” [6]
Future Work:
For my next post, I will interview Alex Korzec, along with several other attendees of various music festivals. I have already asked them permission. I have some questions planned. I want to make sure that I do not influence their viewpoints with my own.
In the next set of fieldnotes, along with questions from my interview, I would like to look at the bands that play these rock music festivals. Many bands repeat at these festivals. For example, some bands have played at Bonnaroo for several years in a row. Additionally, the Raconteurs showed up at almost all of these festivals last year (2008). What makes bands such as the Raconteurs appear again and again? What qualities do they possess that make them superior to other bands on the bill? There are interviews available with such bands about playing at these festivals that I will look at, as well as interviews of the people who enjoy the bands about why they consistently play at America’s premier rock music festivals.
Finally, I will write about my own experience of being at Lollapalooza last year.
References:
1. http://en.wikipedia.org/wiki/Rock_festival
2. http://www.urbandictionary.com/define.php?term=festival%20flu
3. http://www.bonnaroo.com
4. http://www.aclfestival.com/
5. http://www.coachella.com/
6. http://www.wbru.com
One important characteristic that separates these rock festivals from normal rock concerts are the parts that are not the music. For example, many of the festivals host comedians, speakers, and other events besides bands playing. Vendors line up and sell food and merchandise, and SXSW and Coachella include a film festival and an art festival respectively. Lots of foresight by concert planners is involved, due to the length and size of the festival. Without adequate facilities, such as food, water, and bathrooms, the concert will fail. At smaller, shorter concerts, these details do not make or break them, whereas they would at larger festivals.
Perhaps the greatest attribute of a rock festival is its ability to be separate from the real world. Due to its length, commitments such as work or school would have had to been moved or cancelled. A person immerses themselves in music and culture for several days, unattached to anything else. At several of these festivals, many people camp at the site for a few days. Physical barriers such as distance in the case of Bonnaroo, or a gate, in the case of Lollapalooza, keep the attendees of such festivals away from normal civilization.
As an example of the separation between worlds festival-goers may experience, I interviewed a friend who had been to both Lollapalooza and Bonnaroo via an instant message. He wrote: “drugs were basically legal there- it was awesome- the event staff would watch you take a hit of whatever you wanted-but do nothing about it”. This lack of law enforcement would not normally take place outside of the festival.
Furthermore, Urban Dictionary writes of a disease called “festival flu”, which is defined as: “An illness which inevitably sets in when one returns home from attending a music festival. Causes include: Between 2 and 10 hours sleep over a five day period, Living in your own dirt, Shouting and screaming a lot, Excessive consumption of both legal and illegal substances, Being too tight to buy food and hence going without for five days, Dehydration” [2] Concert-goers voluntarily experience these so-called causes of festival flu, in order to participate in the experience that being away from the rest of the world, with thousands of people who share an appreciation for music.
Talking to several people about the festivals revealed a type of “aura” these concerts exude. Although many concerts generate excitement, the mere fact that these festivals, are large-scale and spread out over several days contribute to the certain feeling many would describe when there. Being around many people whose goal is to listen to music and have a good time may be something that all concerts share, but festivals simply beat out normal concerts in sheer numbers (80,000 for Bonnaroo [3]; 225,000 for Lollapalooza[1] ; 65,000 for Austin City Limits[4]; 149,000 for SXSW[1], 50,000 for Coachella[5]). Not only is an attendee of one of these festivals surrounded by people who share similar musical preferences, but many have traveled from other states and countries to be there.
I would like to leave you with a quote taken from WBRU’s blog covering Lollapalooza 2008:
“Covered in the sweat of a thousand men and wearing a shirt that will probably never be wearable again, I exited Grant Park, this time at the same time as everyone else, as opposed to hanging around late to check out backstage, and I witnessed something remarkable. As the crowds pour out into the streets, there were random bursts of applause and cheers. I looked around to see what people for cheering for, and there’s nothing there. They’re cheering for nothing. Nothing, and everything that they just saw and experienced over the last two days. It’s exactly the feeling I would get walking between stages, the feeling of being completely ecstatic just to BE here, that I would just put my fists in the air for no apparent reason in a personal, private celebration. And here was everyone, doing the same thing, the cheers following us down streets and around corners. That’s what Lollapalooza is: un-containable excitement.” [6]
Future Work:
For my next post, I will interview Alex Korzec, along with several other attendees of various music festivals. I have already asked them permission. I have some questions planned. I want to make sure that I do not influence their viewpoints with my own.
In the next set of fieldnotes, along with questions from my interview, I would like to look at the bands that play these rock music festivals. Many bands repeat at these festivals. For example, some bands have played at Bonnaroo for several years in a row. Additionally, the Raconteurs showed up at almost all of these festivals last year (2008). What makes bands such as the Raconteurs appear again and again? What qualities do they possess that make them superior to other bands on the bill? There are interviews available with such bands about playing at these festivals that I will look at, as well as interviews of the people who enjoy the bands about why they consistently play at America’s premier rock music festivals.
Finally, I will write about my own experience of being at Lollapalooza last year.
References:
1. http://en.wikipedia.org/wiki/Rock_festival
2. http://www.urbandictionary.com/define.php?term=festival%20flu
3. http://www.bonnaroo.com
4. http://www.aclfestival.com/
5. http://www.coachella.com/
6. http://www.wbru.com
Monday, February 16, 2009
Critical Review #4 - Schilt - "Riot Grrrl is..."
Schilt, Kristen. Ch. 6. Music Scenes.
"Riot Grrrl is...": The Contestation over Meaning in a Music Scene.
Riot grrrl was/is a genre that attempted to keep itself undefined in order to be whatever the person wanted it to be. Unfortunately, mainstream media, in its attempts to label the movement, may have destroyed it by focusing on its fashion of cut-up aesthetic, instead of the values held by members of the movement.
Described as a punk DIY mixed with feminist politics, Schilt portrays riot grrrl as more of a political movement than a musical one. Riot grrrls attempted to take control of the mainstream media by being a part of the production of fanzines and bands and using these as a format for discussing sexism. Although the subculture attempted to be all-inclusive, saying that anyone could be involved, mostly female, white middle class punks became a part of it; and eventually alienated other races and classes from joining.
This article also discusses the topic of mainstream vs. independent. How does one get a political message out to the masses without being a "sell-out"? This is an issue that bands struggle with across all subcultures, not just riot grrrl. By joining a major label, bands lose subcultural capital (no longer being as cool), but may gain more fans due to exposure.
Although she attempts to mention that those involved struggled between having a political message or being musicians first, Schilt herself focuses a lot more on the politics than "the music itself". She uses lyrics as an example of the feminist nature of bands such as Bikini Kill, but says nothing of the music or sounds that the band created.
Schilt does mention that the riot grrrl subculture may have been frustrated with the increasing amount of moshing at concerts from punk bands at the time - does that mean riot grrrl bands played music less "moshable" than punk? does the riot grrrl genre have any specific musical characteristics other than being "punk"? Or is it just punk with a feminist political message? I'm more interested in "the music itself" in other words, not just its lyrics.
"Riot Grrrl is...": The Contestation over Meaning in a Music Scene.
Riot grrrl was/is a genre that attempted to keep itself undefined in order to be whatever the person wanted it to be. Unfortunately, mainstream media, in its attempts to label the movement, may have destroyed it by focusing on its fashion of cut-up aesthetic, instead of the values held by members of the movement.
Described as a punk DIY mixed with feminist politics, Schilt portrays riot grrrl as more of a political movement than a musical one. Riot grrrls attempted to take control of the mainstream media by being a part of the production of fanzines and bands and using these as a format for discussing sexism. Although the subculture attempted to be all-inclusive, saying that anyone could be involved, mostly female, white middle class punks became a part of it; and eventually alienated other races and classes from joining.
This article also discusses the topic of mainstream vs. independent. How does one get a political message out to the masses without being a "sell-out"? This is an issue that bands struggle with across all subcultures, not just riot grrrl. By joining a major label, bands lose subcultural capital (no longer being as cool), but may gain more fans due to exposure.
Although she attempts to mention that those involved struggled between having a political message or being musicians first, Schilt herself focuses a lot more on the politics than "the music itself". She uses lyrics as an example of the feminist nature of bands such as Bikini Kill, but says nothing of the music or sounds that the band created.
Schilt does mention that the riot grrrl subculture may have been frustrated with the increasing amount of moshing at concerts from punk bands at the time - does that mean riot grrrl bands played music less "moshable" than punk? does the riot grrrl genre have any specific musical characteristics other than being "punk"? Or is it just punk with a feminist political message? I'm more interested in "the music itself" in other words, not just its lyrics.
Wednesday, February 11, 2009
Critical Review #3: Maira 1999
Maira, Sunaina. "Identity Dub: The Paradoxes of an Indian American Youth Subculture (New York Mix)." Cultural Anthropology. Vol. 14, No. 1. 1999. pp. 29-60.
After starting in an ethnographic moment of an Indian American club scene, Maira argues that fashion and music as displayed in such clubs and desi parties are of the utmost importance to the Indian American youth subculture. The second-generation subculture mixes hip-hop with traditional Indian music brought from overseas, therefore giving them a unique identity of both the old and the new. However, she points out that this does not necessarily mean that the group is trying to assimulate and become part of the "melting pot" by mixing the two cultures.
Maira also points out that the although the subculture likes to hold onto both American and Indian aspects in their life, many times these two different cultures can be at odds. She writes about a few teenagers who have to change clothes before going out, so they may be wearing conservative clothes in front of their parents, but more provacative clothes upon entering the club. She also writes about the male notion that Indian females should be cool, and therefore go to the parties, but also maintain a virtuous side, so that they can be good wives someday.
A quote in the piece I found interesting was a quote from Simon Frith: "for young people... music probably has the most important role in the mapping of social networks, determining how and where they meet and court and party." (34)
I do not totally agree with this sentiment. While I agree that it has meaning to me, because I place so much importance on music, I know many others that do not find music as important in their lives. They'll listen to a certain genre, but perhaps not as often as I do, nor do they place the importance of making friends who share their taste. Some of my friends and I don't listen to the same type of music at all. We met each other through sports teams or clubs, but not music. Music is important to the lives of young people - but the most important? That may be a bit too strong of a phrase. Besides music, what else plays an important role in the social networks of a culture?
After starting in an ethnographic moment of an Indian American club scene, Maira argues that fashion and music as displayed in such clubs and desi parties are of the utmost importance to the Indian American youth subculture. The second-generation subculture mixes hip-hop with traditional Indian music brought from overseas, therefore giving them a unique identity of both the old and the new. However, she points out that this does not necessarily mean that the group is trying to assimulate and become part of the "melting pot" by mixing the two cultures.
Maira also points out that the although the subculture likes to hold onto both American and Indian aspects in their life, many times these two different cultures can be at odds. She writes about a few teenagers who have to change clothes before going out, so they may be wearing conservative clothes in front of their parents, but more provacative clothes upon entering the club. She also writes about the male notion that Indian females should be cool, and therefore go to the parties, but also maintain a virtuous side, so that they can be good wives someday.
A quote in the piece I found interesting was a quote from Simon Frith: "for young people... music probably has the most important role in the mapping of social networks, determining how and where they meet and court and party." (34)
I do not totally agree with this sentiment. While I agree that it has meaning to me, because I place so much importance on music, I know many others that do not find music as important in their lives. They'll listen to a certain genre, but perhaps not as often as I do, nor do they place the importance of making friends who share their taste. Some of my friends and I don't listen to the same type of music at all. We met each other through sports teams or clubs, but not music. Music is important to the lives of young people - but the most important? That may be a bit too strong of a phrase. Besides music, what else plays an important role in the social networks of a culture?
Tuesday, February 10, 2009
Ethnography Project Proposal: US Premier Rock Festivals
For my project, I would like to focus on the so-called "premier" rock music festivals in the United States. These include South by Southwest, Coachella, Lollapalooza, Bonnaroo, and Austin City Limits. Many people travel hundreds or thousands of miles to attend these concerts, braving harsh heat, rain, and other weather. Their price tag alone is enough to deter some listeners. Therefore, what types of people decide to attend these concerts?
I know that I personally drove to Lollapalooza last year to be a part of the action. Therefore, I have some opinions on the subject already, but I will base my research on web research and interviews of attendees of such shows. Furthermore, I will use interviews from bands who have played at such festivals, from both the media and my position at WBRU in Providence.
There is a lot more to music festivals than just "the music itself". The people that attend the events create a certain attitude - is there a way to define this intangible feeling? Furthermore, sponsors and vendors create all types of exhibits, games, and other events during the shows. How do these factor in to a concert-goer's experience?
In addition to the thoughts already posed above, some other questions I would like to answer in my project include:
-What makes these particular concerts stand out among all the music festivals in the US?
------What makes them different from regular concerts?
------What makes them different from other festivals?
-What types of people attend these events?
------How many are "repeat consumers"? Do they form a type of community?
------How many are one time attendees? Why do the choose to only go?
-What aspects of premier rock festivals do attendees most enjoy?
-Who organizes these events?
------How do they get the majority of their money? (Ticket sales, sponsors?)
------How do they affect the cities that host them?
-What types of bands play at these events? What has their experience been like?
------Why do many of the same bands attend all of these shows in a particular year?
------How do they change their set from a normal concert? (Besides duration)
Sources:
"Music Festivals" in Music Scenes: Local, Translocal, and Virtual. p149-167.
http://en.wikipedia.org/wiki/Music_festival
http://www.startribune.com/entertainment/music/17492739.html
Extra Stuff:
Bonnaroo's 2009 Lineup!
Girl Talk from Lollapalooza 2008!
I know that I personally drove to Lollapalooza last year to be a part of the action. Therefore, I have some opinions on the subject already, but I will base my research on web research and interviews of attendees of such shows. Furthermore, I will use interviews from bands who have played at such festivals, from both the media and my position at WBRU in Providence.
There is a lot more to music festivals than just "the music itself". The people that attend the events create a certain attitude - is there a way to define this intangible feeling? Furthermore, sponsors and vendors create all types of exhibits, games, and other events during the shows. How do these factor in to a concert-goer's experience?
In addition to the thoughts already posed above, some other questions I would like to answer in my project include:
-What makes these particular concerts stand out among all the music festivals in the US?
------What makes them different from regular concerts?
------What makes them different from other festivals?
-What types of people attend these events?
------How many are "repeat consumers"? Do they form a type of community?
------How many are one time attendees? Why do the choose to only go?
-What aspects of premier rock festivals do attendees most enjoy?
-Who organizes these events?
------How do they get the majority of their money? (Ticket sales, sponsors?)
------How do they affect the cities that host them?
-What types of bands play at these events? What has their experience been like?
------Why do many of the same bands attend all of these shows in a particular year?
------How do they change their set from a normal concert? (Besides duration)
Sources:
"Music Festivals" in Music Scenes: Local, Translocal, and Virtual. p149-167.
http://en.wikipedia.org/wiki/Music_festival
http://www.startribune.com/entertainment/music/17492739.html
Extra Stuff:
Bonnaroo's 2009 Lineup!
Girl Talk from Lollapalooza 2008!
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