Interviews 2: Participants in Post-Hardcore

These interviews were conducted via email with people I knew were involved in the scene.  A larger sample size would have been ideal, but you take what you can get.

Inteviewee 1: Adam

1. How would you describe post-hardcore music?  What are the key elements?

Post-hardcore blends heavy, technical guitar with punk beats and often odd time signatures. Screaming is usually a supplementary element to post-hardcore. 

2. What bands do you consider post-hardcore?

Thrice, Saosin, Closure in Moscow, Fall of Troy, Alesana, A Fall Farewell, Devil Wears Prada( well, maybe more metalcore)...

3. What music did you listen to before you got into post-hardcore?

I mean everything really.My favorite before that was like punk rock and pop-punk, such as Bad Religion and Millencolin. But that didn't mean I didn't listen to other things, such as Weezer, Bush, Smashing Pumpkins... 

Can you see connections that would lead you from one to the other?

Absolutely. Punk beats are the backbone of post-hardcore, but the guitars are slightly more complicated and usually darker. Punk had a flavor called hardcore for a while, such as Dead Kennedys and Black Flag. That definitely was the "before" (hence POST-hardcore).

 

4. What are the three things you like most about post-hardcore as a

whole (including music, shows, fashion, people, etc.)?

1. The guitars. I play guitar, and I just love the heaviness, the energy, and the tone of the guitars.

2. The technical aspect of the music. Double bass, arpeggiated solos...its fun to learn and play.

3. I just want to headbang and rock out. I feel MOVED by the music. 

5. Do you think there is a style of dress assosciated with the scene?

If so, what is it like?

Yes. It's pretty much emo/goth. It's really annoying. 

6. Why do you listen to post-hardcore?  What does it bring to the

table that other genres don't?

Sort of the top 3 isn't it? I like that it blends technical, heavy music with melody and energy.

 

7. What bands have you played in and would you describe any of them as

post-hardcore?

I played in two bands, and they were more of the pop-punk variety, with post-hardcore influences. I liked the more technical guitar, but the vocal melodies and the beats were much poppier.

 

8. What resources are available in the MA/RI area for local bands in the scene?

Lots of venues. And lots of bands. 4 Year Strong is one of the biggest bands in the scene and its just a matter of getting to know all fo the bands so you can get on a bill at any one of the bajillion venues around. 

Interviewee 2: Jeff (name changed)

1. How would you describe post-hardcore music?  What are the key elements?

I would describe post-hardcore music as heavy drums and loud guitar accompanied by clean vocals and melodic rhythms. Hardcore roots with punk influences.

2. What bands do you consider post-hardcore?

thrice, thursday, underoath, saosin, yesterday's rising etc.

3. What music did you listen to before you got into post-hardcore?

This is hard to apply to me, because I have always been listening to different things, but I guess you could say before post-hardcore I listened to many alternative rock? I guess...its the next logical step

4. What are the three things you like most about post-hardcore as a

whole (including music, shows, fashion, people, etc.)?

the drums, guitar riffs, and the electronica that some use. shows are upbeat and enjoyable.

5. Do you think there is a style of dress assosciated with the scene?

I think that the scene is a mixed bag, but there is definitely a type of person that predominantly makes up the crowd. tight pants, colorful t-shirts, nike dunks, flat brim hats, fat 13 year old girls with an underoath tshirt in the front row.

6. Why do you listen to post-hardcore?  What does it bring to the

table that other genres don't?

the reason i mainly listen to post hardcore is because i like the instrumentals of hardcore but cant deal with the constant screaming of hardcore band singers. I feel post-hardcore is a good medium because they have an actual singer. it brings a good mix of harder instrumentals and punk-ish vocals, something no other genre has.

Final Ethnography Post

The Receiving End of Sirens met its end, and Monty Are I returned to R.I.  The last two years have been busy for the post-hardcore scene in Rhode Island and Massachusetts, and its future seems a little up to chance.  With the rise and fall of emo, the staying power of post-hardcore is put into question, some declaring that it has already collapsed.  Part of the answer lies in more questions: What is post-hardcore?  Who listens to it? Who plays it? And most importantly, why?

The Receiving End of Sirens of Boston, MA plays its farewell show at a packed Lupo's in Providence.  (Future Breed)

Additionally, my interest in this topic is somewhat personal - post-hardcore was a term that kept popping up a few years ago when I started listening to Saosin and The Receiving End of Sirens.  I didn't exactly know what it meant or what its history was, but I knew I liked the sound.  Having grown up on hard rock and heavy metal, then exploring other genres, and later making my foray into emo despite its stigma, this was a nice sonic middle ground between the two - thundering drum fills, distorted power chords, complex melodic guitar hooks, impressively high emotionally charged vocals offset by a good balance of screamed vocals, and introspective lyrics that I related to more directly than songs about British fighter pilots in the 1940's.  In addition, some of these bands were incorporating electronic elements into otherwise straight ahead rock instrumentation, something I hadn't heard before.

Example of recent post-hardcore from Boston, MA; listen for balance of hardcore elements and softer ones, as well as electronic drum and keyboard samples.

The classification of the genre can become extremely difficult and muddled, with so many different words being used to describe similar sounds.  I've explored the territory and have concluded that the definition is very dependent on the time period it is referring to.  Currently, there are 3 ways it is being used: by strictly emo bands that don't want to be called "emo," by bands that overlap with emo but are heavier due to hardcore influences (I'll call this "modern post-hardcore"), and by bands that overlap with emo but emphasize pushing creative limits by incorporating elements of electronica/prog rock/ska (I'll call this "experimental post-hardcore").  The first is an example of how elements of subcultures are appropriated for mainstream use, sometimes with an accompanying perversion of original meaning.  (Hebdige 1979, p. 94)  The other two each cover one of the fundamentals of the most basic definition of post-hardcore: music that 1) "took inspiration from hardcore, while 2) concerning themselves with a wider palette of expression" (wiki, numbers added).

A big issue with genre classification depends on who is applying them - are the labels coming from people within the scene or from people outside the scene?  When it first emerged, the genre was referred to by some as "post-hardcore," most likely people within the scene or at least with some respect for the music, but others referred to it as "emo-core," from "emotional hardcore." (Grubbs, 2008, p. 27)  Bands seem more likely to reject labels than fans; Monty Are I frontman Steve Aiello initially said he didn't really think of his band as post-hardcore.  On the other hand, my fan interviewees both seemed very comfortable with the term.  I would speculate that bands don't like being put in genre boxes because it attempts to confine the music that they make.  My fan interviewees, however, both claim to like/have liked other genres in addition to post-hardcore.  In a global music scene that is more about micro-movements than large-scale movements that capture an entire generation, it's quite common to associate ones taste with a wide variety of specific genres.  The advantage fans have is that they get to associate themselves with many labels, whereas bands usually get only one or two, so fans are less confined by labels.

Part of the use of "emotional" and its variations to describe post-hardcore are a reaction to the less masculine and more feminine nature of the sound when compared to hardware. (Aslaksen 2006, p.5) When vocalists stopped screaming the entire time, and moved towards cleaner, more melodic, and often higher range vocals, the perceived change and response from the more established genre was akin to what happened with twelfth-century polyphony.  The music was denounced as attempting "to feminize all their spellbound little followers with the girlish way they render the notes and end the phrases." (McClary 2004, p. 30)  Femininity entering a previously masculine sphere was scorned.

Whatever terminology is applied to the music, why listen to it?  My interviewees agreed that the technical guitar and drum parts, as well as the heavy yet energetic feel of the music were key reasons.  Also a balance between melody and hardcore elements, as Jeff (name changed) said "The reason I mainly listen to post-hardcore is because I like the instrumentals of hardcore but can't deal with the constant screaming of hardcore band singers. I feel post-hardcore is a good medium because they have an actual singer."  This sonic middle ground between hardcore and emo is appealing to people whose tastes either span the spectrum, or have a line drawn somewhere along the spectrum that sets off whatever is too hardcore/too emo.  This middle ground exists not only sonically but chronologically, as post-hardcore existed in the transition between the larger movements of hardcore and emo.  The genre crystallized most clearly around Fugazi, the band that defined the genre, with roots firmly established in hardcore punk, but breaking free from musical conventions and exploring new ones to the point that "one could almost call them a post-punk jam band." (Wagner 2007, p. 69)  Interestingly enough, none of my interviewees brought up Fugazi, which goes to show that the term "post-hardcore" is much more attached to the more recent definitions.

The band that defined the genre, mixing elements of hardcore with melody and introspection.

Now that I have defined post-hardcore, contextualized it historically, and examined why people might like it, I'll focus on what is unique, important, and interesting about the scene in Massachusetts and Rhode Island.  While many bands named by my interviewees were larger, national acts from elsewhere, southern New England has a strong contingent of local post-hardcore bands: The Receiving End of Sirens,  Therefore I Am, Monty Are I, Les Savy Fav, Vanna, A Loss for Words, Four Year Strong.  Though the genre was born out of the D.C. hardcore scene, the D.I.Y. ethic that began punk and persisted through D.I.Y. labels like Dischord Records (Grubbs 2008, p. 6), was very translatable to MA/RI as part of what Steve Aiello calls "an East-Coast mentality."  Bands are willing to work hard to be able to make and promote the music they love making, even if that involves taking on responsibilities usually reserved for record labels.

Steve Aiello, frontman of Monty Are I from Cranston, RI (Tara's Flickr)

The other key element of this local scene is that there are resources enough for it to exist.  Both states have a fair amount of venues within the size range of the audience, from churches and VFW halls to larger clubs.  Having these venues available and willing to book shows gives the bands outlets to play at, ways to make money, and ways to move up the ranks by playing at certain venues.  Although Steve bemoans the loss of several key venues, Adam brings up the point that there are still a lot of them, even if there have been some quality losses.  The size and population density of the states (especially Rhode Island) is another advantage, enabling bands to do a lot of promotion themselves (i.e. postering and flyering every high school in R.I.), as Steve can attest to.  Again, the intensity of the combination of D.I.Y. and East Coast work ethics is what makes this work possible.

A shot from Vanna concert at the International Community Church in Allston, MA (Vanna blog and journals)

Though the term is thrown around liberally nowadays, "post-hardcore", when used appropriately, still points to a genre that took the sound and work ethic of hardcore punk, shook it out of its violent and principles-over-music stalemate, and created a more personal and palatable style of music.  At its best, it balances the intensity, hardness, and energy, with introspection and melody, creating an appealing blend that sits in the middle of the spectrum between emo and hardcore.  Though I can't say for sure, the genre's principles of sonic experimentation and expansion seem to be enough to outlast the mislabeled-as-hardcore emo that's on its way out.  Only time will tell if this genre was merely a transitional period, or whether it is here to stay.

Word Count: 1,374

Works Cited:

Alsaksen, Matthew J.  Middle Class Music in Surburban Nowhere Land: Emo and the Performance of Masculinity. Graduate College of Bowling Green State University, 2006. <http://www.ohiolink.edu/etd/send-pdf.cgi/Aslaksen%20Matthew%20J.pdf?bgsu1147712034>

Grubbs, Eric. Post: A Look At the Influence of Post-Hardcore - 1985-2007.

iUniverse, 2008.

Hebdige, Dick. Subculture: The Meaning of Style. New York, NY: Routledge, 1981.

McClary, Susan. "Same As It Ever Was: Youth Culture and Music." Microphone Fiends: Youth Music & Youth Culture.  New York, NY: Routledge, 1994.

Wagner, Cassie and Elizabeth Stephan.  Left of The Dial: An Itroduction to Underground Rock 1980-2000.  Haworth Press, 2005.

<http://opensiuc.lib.siu.edu/cgi/viewcontent.cgi?article=1003&context=morris_articles>

www.last.fm

www.lyricsfreak.com

www.wikipedia.org

www.urbandictionary.com

Fieldnotes 3: Defining Post-Hardcore

What is post-hardcore?  A seemingly simple question that's actually quite slippery.

Some are content to say that post-hardcore is a vague label that is slapped on whenever a band meets a few minimum requirements.  While there is some truth in that statement, I think a better explanation can be offered.

The meaning of "post-hardcore" changes depending on when (and where) the term is referring to.  Here are the meanings, chronologically, about as finely as I can divide them and using some labels I invented.

Proto-post-hardcore (~1976):

Expanded beyond hardcore punk's rigid set of rules, setting the stage for the next phase; "proved there was indeed room for stylistic diversity in hardcore punk" (last.fm)

Examples: Black Flag, The Minutemen, Flipper, Husker Du. (also influential from the art punk direction: Sonic Youth, Big Black)

The First Wave (~1985):

The purest definition of "post-hardcore," music that came directly after hardcore punk reached its logical and creative dead end (stance on straight-edge more important than music, excessive violence at shows preventing more shows from happening, frustrations with confines of the style).  These bands "combined a stronger command of songwriting, a better sense of melody and rhythm, and an introspective lyrical focus, with the power of hardcore." (last.fm)  Detractors dubbed this new genre "emocore."

Examples: Rites of Spring, Embrace, Gray Matter, Ignition

Addition of Art Rock Tendencies(~1987):

If we look at a general definition of post-hardcore as music that "emerged from the hardcore punk scene, or took inspiration from hardcore, while concerning themselves with a wider palette of expression, closer to experimental rock" (wiki), then this relates to the latter part.  In the First Wave, post-hardcore escaped/"emerged" from hardcore; now it explored and experimented with where it could go.

Examples: Moss Icon, Happy Go Licky, Soulside

Midwest Post-Hardcore (~1987):

Occurring simultaneously with the phase above, but in a different geographic space and headed in a different direction, these bands "were focused on confrontation through precision and extreme volume" (last.fm).  This offshoot would go on to spawn math rock, and feed back into noise rock.

Examples: The Jesus Lizard, Arcwelder, Silverfish, Rapeman, Shellac

Crystallization (~1988):

This stage was mainly attained because the band that defined the genre came along (Fugazi).  A key aspect of this definitiveness was that Fugazi was decidedly post-hardcore and decidedly NOT emo.  This was followed by a flurry of excitement of other bands and even some moderate mainstream success stories (Jawbox, Sunny Day Real Estate, Jawbreaker), which started to branch off into emo.

Examples: Fugazi, Native Nod, Clikatat Ikatowi, Hoover, Drive Like Jehu, Navio Forge, Unwound, Maximillian Colby, Lungfish, 1.6 Band, Jawbox, Sunny Day Real Estate, Jawbreaker.

Incorporating Electronic/Prog Elements (~1993):

Somewhat like another push from the "Addition of Art Rock Tendencies," these bands further explored what new elements could be brought into the post-hardcore arena, the results are post-hardcore at its creative extremes, and at times, quite sonically distant from the source.

Examples: Les Savy Fav, At The Drive-In, The Dismemberment Plan

Popularization (~1997):

Here's where the genre lines got very blurry.  The new genre of emo grew, taking its name from the original insult of "emotional hardcore" but its accessible, less edgy, sound from Sunny Day Real Estate, Jawbreaker, and bands that continued in that direction.  The overlap makes it difficult to tell where post-hardcore ends and emo begins, but I would venture to say this is the last wave of bands that were called "post-hardcore" before the term began to be abused.

Examples: Thursday, Thrice, Finch

Collapse / Re-appropriation (~2001):

As emo began to explode, artists searched for what to call their music.  Most genre labels are undesirable simply because they are labels; emo had built-in negative connotation that few, if any, bands wanted.  "Post-hardcore" at least was not an overtly bad label, and this new music could still claim origin from there.  Only in these last two time periods do we the definition first mentioned coming true.  At this point, which is largely where we still are currently, I see "post-hardcore" being used in three ways.

1. Towards bands that are strictly emo, but do not want to be described as such.  The term is being misused.

2. Towards bands that have some overlap with emo, but have a distinctly heavier sound that touches on hardcore roots and isn't fully captured by the simple description of emo (which can apply to much lighter music, i.e. Dashboard Confessional).  The term is being used acceptably, with respect to a definition of modern post-hardcore. 

3. Towards bands that have some overlap with emo, but still seek the sonic expansion of the "Incorporating Electronic/Prog Elements" phase.  The term is being used acceptably (though perhaps "progressive post-hardcore" would be more accurate?).

Examples: The Receiving End of Sirens, Monty Are I, Thrice (on The Alchemy Index), Circa Survive, Bear Vs. Shark.

On a final note, I realize that at some point, drawing these genre lines in the sand becomes futile.  The lines are in different places for different people, and there is certainly a sonic continuum/spectrum from this side of the line to that side of the line.  So, while these classifications are somewhat subjective, I figured a careful analysis of the history, changes, and subdivisions in this and related genres would be more useful than writing the whole thing off as "to subjective to call."  At least this lays a foundation of key bands, sonic movements, and time periods to work with.

Marshall Critical Review (Set 2, #4)

"We Use So Many Snares" delves into some of the details of and controversies within the production of reggaeton, as well as giving a brief history of the genre and how some of the basic musical figures allude to its origins. "La Musica Negra (Hispana?)" gets into some of the specifics of the origin debate, which is at times tough for an outsider to follow (especially with down links/videos), but seems to suggest that reggaeton is a creation of multiple cultures (which may or may not get along). "Reggaeton’s Contempo Indexical Lexica" picks out a few specific examples that demonstrate a shift in sampling/influence away from "la musica negra" and towards "reggaeton latino." "The Webnography of Reggaeton Faultlines" uses a selection of internet forum posts to showcase the mostly racial dividing lines and differing opinions as to who "owns" the genre.

Discussion Question: How do the origins and division lines in reggaeton compare and contrast to those in hip hop? Do these divisions and disputes provide a narrative for the genre that makes it more exciting and appealing?

Fieldnotes 2: Youtube Live Videos

Vanna (wiki) (myspace)

"Heavens to Betsy" at MassArt in Boston, MA, 03/29/06

-Much emphasis on "hardcore," band headbanging intensely at the beginning

-Crowd more tame at first - possibly because of lack of stage divide

-Clear use of "the breakdown," (1:52) an essential element of post-hardcore

-Then a guy comes in and tackles lead singer - demonstration of local band/fan equality?

-Drummer is black, playing what might be percieved as "white music"

"I am the Wind, You are the Feather" at International Community Church in Allston, MA 09/29/06

-Dedicated fanbase audibly singing all the lyrics

-Pushing against stage with raised hands

-Shows how small local venues like churches provide a place to play and build a fanbase

-Ample guitar flailing by performers, stage diving by audience

-Clothing - tshirts, hoodies, jeans

"A Dead Language for a Dying Lady" at House of Rock in Corpus Christi, TX 09/01/07

-Sound features heavily distorted guitars - rhythm playing low chords and lead playing high riffs
-Seems to show they have excited fans in Texas, which contrasts with...

"Country Boys... Goddamn" at Ridglea Theatre in Ft. Worth, Texas, 03/17/07
-Crowd seems unenthused and unfamiliar with the band

Quinsigamond Village Community Center in Worcester, MA 05/10/08

-Able to draw a pretty large crowd to a home show

-Large mosh pit in the audience (1:04), with fans doing spinning kicks and the like

-Band splits up vocal duties, one singer and one screamer, a common aesthetic of the genre

Four Year Strong (wiki) (myspace)

"Bada Bing Wit' A Pipe" at Water Street Music Hall in Rochester, NY

-As wikipedia description would suggest, band has a much poppier sound, more sung vocals (less screamed), less emphasis on low rhythmn guitar

-Incorporates a synth, arguably making it more poppy, arguably contributing to the concept of post-hardcore bringing outside elements into hardcore spaces.

At Catalyst in Santa Cruz, CA circa 09/14/08

-Band's style of dancing is different than Vanna - more jumping up and down in the punk style, still some mild headbanging, less guitar flailing.

-Still splits up vocal duties between a singer and a screamer similar to Vanna

At Chain Reaction in Anaheim, CA 10/13/07

-From what we can see of audience seems primarily teenage white male

-Can see a typical crowd move demonstrated a few times - at a point of sonic change, fan will use the shoulders of people in front of him to help push himself higher (though not to the point of crowd surfing), something I have also seen at Recieving End of Sirens shows (another post-hardcore band from MA)

Back (pt. 1) Critical Review (Set 2, #3)

After an amazingly vague first section packed with loads of pretentious academic jargon-spouting, this article moves on to establish that exclusive, racist policies of white leisure activities created non-exclusive, but autonomous black leisure circles.  At last, in the third section, the author kindly lets us know what type of music he is talking about (reggae/dub/dancehall), and explains some key terms, operational principles, and values of the scene.  He then explores the difference in lyrical styles ("slackness" vs. "culture lyrics"), addresses their non-exclusive nature despite black origins, and emphasizes the mixing of pleasure and politics within the genre.  Finally, he discusses the proactive role of female performers in the scene, stressing the point that they "chat" from their own perspectives, rather than simply react to what male performers are doing.

Discussion Question:  Where do you think this scene ranks in comparison to others in terms of female participation?  What do you make of the lack of emphasis on females as selectors/operators/co-owners of sound systems?

Walser Critical Review (Set 2 #2)

The introduction of Wasler's book spends a lot of time developing an analogy between metal and classical music (at some points valid, at others it is stretching) and explaining the content of each chapter, but it provides a great deal of reflexivity.  One of the ideas that appealed to me was the approach of music as an activity ("musicking") rather than a product.

In the first chapter, he examines the origins of the term "heavy metal" and how that term was used and interpreted differently by different groups for different purposes.  He then examines the history of metal, splitting it into sections by time periods and explaining the transformations that occurred between them, using a more liberal definition of metal then Weinstein, while still acknowledging the subdivisions.  Finally, he gets into a more hands-on ethnographic approach to dispell some misconceptions about racism in metal and fans' reasons for listening to metal, being very explicit about his methods and reliability.  He saves the fireworks for the final section, in which he tears apart a laundry lists of other studies on metal, detailing the faults with each.

The strengths of this reading were that the beginning provided a great example of effective reflexivity, and the end was helpful in bringing up errors/faulty approaches in other ethnographic readings.  However, I don't feel that this selection offered much on its own, perhaps a different chapter might bring more to the table.

Also, it should be noted that Steve Harris is the BASSIST for Iron Maiden, not the guitarist.  Given that only 3 of the 6 members in the band are not guitarists, I would hope that someone writing an entire book on heavy metal might be able to keep that one straight.

Discussion Question:  This article concludes that the metal audience consists of a mix of middle- and working-class people.  I can't think of an article we have read that has mentioned any kind of upper-class audience.  Why do you think this is?  Do upper class people not listen to music?  Do they all listen to classical, opera, etc.?  Is it too small a group of people to be relevant to study?  Are academics glossing over the upper-class or are they looking at it and finding nothing relevant?

Weinstein Critical Review (Set 2, #1)

Weinstein's investigation of the origins, practices, and values of the metal subculture, while wonderfully thorough and detailed, is unfortunately painfully long to read, even for a fan of the genre. Her insight on the origins of the metal subculture being a coherent synthesis of biker and hippie culture was interesting, as was tracing back the four core values of metal: male, youth, whiteness, blue-collarness. One of the greatest strengths of this article is the fine distinctions it makes, for example between metal audience and metal subculture, women who emulate male style and women who take on "bitch-whore" music video roles, and memorizing lyrics versus understanding the meaning of lyrics. Another strength of the article is that it takes nothing for granted, backing up statements with hard evidence, and not drawing conclusions where there is not sufficient evidence (i.e. the correlation/causation of metal, stoner culture, and bad behavior in students). Overall she paints a very detailed portrait of the metal subculture as a strong, enduring, steadfast, (in some ways, but not in others) united force, and captures a lot of its nuances.

Question: Do you think the author is to harsh with her observation that most fans don't really understand heavy metal lyrics?  Is it a different scenario than other genres?

Interview Excerpt: Stephen Aiello of Monty Are I

This is an excerpt from my 03/29/09 interview with Stephen Aiello, lead singer and guitarist from the Rhode Island-based band Monty Are I.

Me: When you guys were starting out as a local band what kind of resources were available for local bands in the area?

Stephen: Well, first and foremost, the biggest thing definitely that was different was, I think, the club scene was different, the music venue scene I should say. I think that there were more clubs, or at least the clubs we were able to play at had more clout at the time. They don't exist anymore, or maybe there were just a couple in particular. I mean, the Met Cafe was the biggest one. And that was like the biggest thing, because what was so rad about it – it was small, probably like 300 capacity, it was right in the heart of Providence, and the great thing was national acts would roll through there all the time. But you also had, you could also put on local shows there, which was rad. And I think that, aside from the Living Room, that's gone too now – that was another great outlet for bands. The thing was is that you could be a kid in high school, but just legit enough to play in a club. Those clubs offered that, which I thought was always so good, you know what I mean, because you could move up in those ranks using those clubs. That was one huge thing was always the Met Cafe, and the Living Room, and of course the old Lupo's, which is now of course the new Lupo's.

I would say the other thing too, which I guess is just the way the state is, is that it's small. And that was always a benefit for us. I guess I would call that a resource, only because word of mouth spread so much faster in a place like this than anywhere else, and it always helped us. I mean, we never looked at being from Rhode Island as a disadvantage, and I think that being so tightly knit with everybody else in terms of word of mouth, high schools, all that kind of stuff really helped us out.

Me: Any other local resources, maybe along the lines of artist promotion that were available for local bands when you guys were starting out?

Stephen: Well, I can't really speak on that, I mean honestly there was never really much for us out there. The thing that is different now that's pretty rad is the internet, in terms of promoting your band. It's changed the game a lot. When we were sort of coming up, we had the internet, kind of. But I think it's different when you're starting out and coming up being in high school when the internet was huge in terms of Myspace and promoting bands, compared to when you're in college. Because in college, we were sort of... we went to college for a couple years, and we were all sort of disjointed and in a bunch of different places, so we never had that organizational sort of internet. Myspace wasn't as big, promoting your band on the internet wasn't as big. These past couple of years, it's really been a huge thing. When we first started, that didn't exist at all. Not that that's a bad thing, it's just things were done differently back then. Which was always, like, literally us going to every single high school in Rhode Island and putting fliers on people's cars, all the senior's cars, about when we were playing the next weekend. That's how we did it, and I guess the “resource” of Rhode Island being small was great because we could travel to all those places and we could hit up like every school, which was awesome. We just had to work more sort of on foot – not complaining about that, it wasn't a bad thing, it was just a different way of doing it.

Full Interview

Performance Ethnography: Monty Are I @ Club Hell 2/27

I approached the gates of Hell and strode confidently up to its two guards, peeking into its dark interior that glowed with hints of red. Apparently I wasn't on the list, and for a minute it looked like I wasn't getting into Monty Are I's sold out homecoming show at Club Hell in Providence. The bouncers cut me some slack, and let me in for 12 bucks. I was turned away at the gates of Hell, but paid my way in.

You'll have to excuse the Hell puns, but not even the band could resist, saying during a radio interview earlier," I love that we're playing there, because when my mom asks 'Where are you playing tonight?' I get to say 'We're playing in Hell, mom!'" It had been a while since Monty Are I, from nearby Cranston, had played in Rhode Island, after recording a new album in a Hollywood studio and some label changes. [1] They were thrilled to be back; at one point the lead singer Steve said "Thank you so much for supporting us, it means a lot to us. And I mean that from the bottom of my heart. It's been a bitch being away, but it's good to be home." But was Providence as eager to have them back?

The band's time away has opened up a lot of questions, related to changes in the band’s sound, effects of being on a major label, relevancy of their style of music, interest of listeners/fans, who their fans currently are, any changes to their status as a "local band," and the effect of being away from their home state for so long. This show provided insights to some of these questions, but left others up in the air.

The venue seemed packed at a first glance, with people sitting on the railings of photographer platforms, but once I navigated to the back of the venue, there seemed to be a surprising amount of room. The capacity of Club Hell is around 200, but it seemed like the rain that day might have kept a few people at home. The venue, usually a house/techno club (except for Sunday goth nights) [2], tonight was filled with about an even mix of (almost entirely white) males and females - the males a bit older, mostly ranging from 18-25, whereas most females were around 14-18. There were a large amount of couples at the show, many lingering around the two side bars, drinking. Parents, some still with kids at their side, watched from the back. Supporting act Penrose acknowledged this fact, saying "Let's give it up for parents! If it weren't for your parents... I can't finish that because my parents are in the room." This has become rather common in the emo/post-hardcore scene, due to its young fanbase and their reliance on their parents for some combination of transportation, permission, or money.

Though "post-hardcore" may conjure vivid dress imagery, it is actually not the case. Many older fans are dressed as they would be in a normal bar or club - striped button-ups for guys and nice shirts for girls. The younger end of the crowd was split between a t-shirt and jeans whatever-I-happened-to-be-wearing look, and the slightly harder-trying tight zip-up hoodie and band t-shirt look (or lumberjack type plaid shirt). Monty Are I fell under this section of the dress code as well. In terms of guys' hairstyle, a significant portion had rather long hair, parted to one side - the "emo look." There were a few outliers with mohawks, bandannas, and baggy pants with bondage straps, but overall no one seemed to be trying too hard.

The band opened with "Anchor and Hope" off their most recent album "Wall of People" to uproarious applause. The band's sound features aggressive distorted guitars, high "emo" male vocals, some technically difficult guitar riffs, lots of dynamic changes, and occasional synth samples and horn parts, due to their origins as a ska band [3]. As was the case for most of the show, the front 5 rows were really into it, jumping, raising hands, singing along, starting the occasional small mosh pit, but people further back seemed not to be moving as much. I moved back to investigate to see that most were still interested, taking pictures, singing along, some while nursing drinks. Further back there were kids texting and to the sides older people stuck to the bar, but most of the crowd seemed engaged. The band also took this lack of movement as unusual, Steve saying at one point, "I'm not seeing enough movement, the people in the back aren't feeling it, so all you up in the front gotta help them out. The opportunity is knocking, right now." Fan response to new material was about as good as one could expect for unfamiliar songs, though the sound seems to have changed slightly, both becoming slightly more poppy and at the same time more eclectic, with one song featuring a danceable salsa intro.

Overall, the band's attitude and rapport with the audience was casual, funny, and extremely grateful. In addition to the earlier thanks of support, the band introduced "Just in Time" by saying, "We love playing this live, because we always get to play it for people that really care and connect to it.” However, the audience as a whole did not quite seem to reciprocate this affection. To be certain, there were definitely people who expressed displeasure when the band spoke about their time away (Steve: That guy just gave me the finger, that guys giving me the thumbs down...") and had heard of "Powdered Toast," the band Monty's guitarist had played in with members of Penrose at age 16. But many in attendance seemed to be casual listeners, who, despite constant urging by the band and a great performance, didn't rock out anymore than they did at the beginning. Maybe this means the band has reached a more mainstream audience who don't partake in typical show behavior, or maybe old fans have lost interest after the band's time away.

One thing is for sure, however, despite a major-label deal, time away, and another national tour coming up, the band will always be considered local, hometown favorites. It's inescapable, due to their devoted hardcore fans and even their name alone. Not only does "Are I" abbreviate their home state, "Monty" is the name Cranston High School West's band instructor. [4] The band also cares deeply about putting on a good show for their home state, Tombonist Andrew saying in an interview before the show, "We wouldn't normally practice four hours a day for a month straight, but home shows are special.” [1] The loyalty of old fans, and the commitment of casual fans will be tested with the release of their next record. Some question the music's relevancy: Adam, age 23 and an active member of the post-hardcore scene in Rhode Island and Massachusetts, opined, "It's too bad their music is three years too late." But the band's hard work and focus that went into the new record seems to be a promising investment, with Andrew saying, "We have really high hopes for this next record and taking a legitimate shot at the 'big time."

References:
[1] http://thephoenix.com/Providence/Music/77221-Interview-Monty-Are-I/
[2] http://www.venuevents.net/event/234
[3]http://en.wikipedia.org/wiki/The_Red_Shift
[4] http://en.wikipedia.org/wiki/Monty_(band)


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Schloss Critical Review

Schloss explores the meanings of and reasons behind the existence of a historically consistent b-boy "canon," using a great deal of testimonials from members of the scene. That, in addition to his abundant reflexivity, are two strengths of his approach. His findings begin with musical elements required for the dance to happen and passing of knowledge from teacher to student, but then get much deeper. Having a select cannon enables b-boys and b-girls to know each song deeply, to know when to change what they are doing and know when to throw burners. Another is that by studying the songs for so much time, the body develops an automatic physical reaction, which is key to the energy and improvisation in b-boying. Additionally, having a b-boy "canon," much like a set of jazz "standards," enables participants to measure themselves on the same playing field, and compare themselves historically, both personally and with other people. Repetition of these "standards" also breeds a fluency with the language the performers are trying to speak, be it musical or physical. Finally, a spiritual respect for the original b-boys' choices, not unlike American's respect for those of founding fathers, implores b-boys and b-girls to study and dance to them.

Discussion Question: The latter part of the article focuses on DJs, whose decisions are made largely based on what the audience wants (or seems to want). Is/was that attitude/priority present elsewhere in hip hop? How do you think it influenced the genre? Is music an art, a performance, or a business? I am thinking art is creative expression (of one's emotions?), performance is a demonstration of skill (to an audience? for an audience? for the pleasure of an audience?), and business as an exchange of goods and services - are your definitions different? Apologies from taking a narrow topic and making it SO META.

Rivera Critical Review

Rivera first establishes the growth of Afrocentricity in hip hop through the 80s and 90s, and then explores the difficulties Puerto Rican-Americans (and Latin-Americans in general) had in finding a place in hip hop at this time. Her investigation revealed both top-level and grassroots discrimination and exclusion from both whites and blacks. African-Americans, having had so much taken from them, musically and otherwise, were very defensive about "their" genre. In response to "not being black enough" and not seeing enough Latinos involved in hip hop, Latinos began to do hip hop their own way, creating the distinctly Latin "freestyle" genre . But this only widened the divide between African-Americans and Latin-Americans, and when the genre was no longer commercially viable, it died out. As it did so, it discredited established Latin-American MC's, pulling them down in its wake. Overall, hip hop is tragically painted as a deck stacked heavily against Latin-Americans due to biases and discrimination from many different directions, despite a wealth of shared experiences and culture.

Discussion Question: How would you compare the perception of Latin-Americans in hip hop with those of Asian-Americans, whites, etc.? How do you think these perceptions have changed or remained the same over the years?

Field Notes 1 - Monty Are I at Club Hell

I was writing in full sentences and being descriptive, but it got long quickly. I've tried a new approach, which is copying almost directly from my notepad.

The place looks packed, and it should, because the show is sold out. People are standing/sitting on the railings of raised platforms for photographers Second opener is getting some mild head bobs from the crowd.

There's a pretty even split between male and female, but males are older (18-25) and females are younger (14-18). Couples are lingering at the bar, the older, drinking crowd. Parents are situated in the back, some still with their kids. The crowd is overwhelmingly white.

A fan who has been standing on the edge of the stage and rocking out, headbanging, and flipping off the crowd, gets a signal from the guitarist and begins to pour beer in his mouth. The fan is later introduced as one of the band member's brothers. The band is Penrose. "Let's give it up for parents," one says, another chimes in with "If it weren't for your parents, you... I can't finish that because my parents are in the room." Kids who would have been driven here and watched by parents make up a significant portion of the crowd.

Penrose exits, there is a decently loud "one more song" chant, but it's a silly request for an opener. Looking at the crowd, the front two rows are teenage girls, then there's roughly a row of guys, behind them a few clusters of same sex groups, but also individual couples. Surprisingly high number of couples at the show.

Dress was varied, but few could be accused of trying too hard. Some, mostly older crowd, was dressed for any other bar/club - guys in striped button-up shirts, girls in nice-ish shirts. The younger end of the crowd was split between a t-shirt and jeans whatever-I-happened-to-be-wearing look, and the slightly harder-trying tight zip-up hoodie and band t-shirt look (or lumberjack type plaid shirt). Monty Are I fell under this section of the dress code as well. In terms of guys' hairstyle significant portion, though far from everyone, had rather long hair, parted to one side - the "emo look." Later saw a few outliers with mohawks, bandannas, and baggy pants with bondage straps.

Other band T-shirts seen: Arcadia Landing (local), A Day to Remember, Fall of Troy.

Soundcheck - the band is doing it themselves, troubleshooting with the sound guy, arriving at the conclusion of "Ok cool we'll have to make do" at one point.

Band exits, lights dim - except for red lights around side bars and back near bathrooms, kind of does look like hell. "Monty, Monty" chant begins and ends. 5 or 6 TVs in the back are of the stage turn on to the colorful "no signal" screen - later displayed some short sequences but mostly the band's logo across static.

The band comes on to uproarious applause and opens with "Anchor and Hope" off the most recent album, "Wall of People." The bands sound features aggressive distorted guitars, high "emo" male vocals, some technically difficult guitar riffs, lots of dynamic changes, and occasional synth samples and horn parts. The front five rows are very into it, jumping, raising hands, singing along. But there's definitely a barrier where few people further back are listening and moving much, more passive.

Song end, a sample plays - it's the "you just beat the level" sound from the old Super Mario, which segs nicely into the 8-bit chip tune intro (or maybe its actually right from a game) of "Castle Bound".

I moved further back, from about 7th row to 15th. People here aren't moving as much but they're still interested - singing along, taking pictures, some while sipping drinks. Further back interest wanes as it becomes less feasible to see the band, kids are texting and parents are watching. There are a few hanging around the bar still, but most have moved on and up. Drink choice on the floor is mostly tall boys of Naraganssett and Pabst Blue Ribbon, both good "I'm at a show and I want as much beer as possible for as little money as possible" drinks. Mixed drinks and classier beers seen on the outskirts of the crowd.

Band plays "O Brother" then "Only the Weak." Crowd is enjoying it, riding the sonic and dynamic changes of the songs - going most nuts on cuts where everything drops out for a second, then comes roaring back in. Breakdowns - usually instrumental bridges with spread out rhythmic guitar notes - are also good sources of crowd energy.

Lead singer, Steve talks about how the band has been gone for a year, then announces crowd reaction "That guy just gave me the finger, that guys giving me the thumbs down..." But goes on to thank the audience, saying "Thank you so much for supporting us, it means a lot to us. And I mean that from the bottom of my heart. It's been a bitch being away, but it's good to be home." Interesting - the idea that one doesn't doesn't just listen to/watch a band (a local band?) but supports them - and the idea of Rhode Island as Monty Are I's home.

Band plays the first new song, off an album coming in spring/summer and the reason they were away to begin with. It's called "Break Through the Silence," the crowd responds about as well as they could to an unfamiliar song, even rocking out after a cut and a "let's go" by the lead singer. Back to older stuff, with "In This Legacy." Band intros the ballad, "Just in Time" saying, "We love playing this live, because we always get to play it for people that really care and connect to it."

After, the band addresses the crowd, saying "I'm not seeing enough movement, the people in the back aren't feeling it, so all you up in the front gotta help them out. The opportunity is knocking, right now." He then requested when they start playing that the crowd "kick ass" and "flip out". Played a new song, don't know the title - he's doing a decent job of psyching the crowd up for new songs, and also being positive with them / buttering them up. Lots of, "I like you guys." Another new song, introduced with an invitation to "put on dancing shoes if you brought them" as the beginning is actually quite danceable.

Following that, the band thanks the openers, especially Penrose, whose last show was tonight. Lead singer says, "I don't even know what to say other than I love those guys." Guitarist jumps in, "I know what to say! Way back when we were like 15 or 16 I played a show with a couple of the guys in that band. Our name was 'Powdered Toast'" Lead singer jumps back in "Who here remembers 'Powdered Toast?'" There are a few cheers. Interesting - interconnectedness of bands in the scene, history of the scene and long-standing devotions of fans.

Band plays "Tie off Your Veins" then guitarist and lead singer join drummer in a choreographed, marching-band-drumline-style intro to "Dublin Waltz". Band announces the last song, a new one called "One in a Million" and says "I don't care what you guys do as long as you kick each others asses" There had been some moderate, sporadic moshding, but here an actual pit opened up. It was populated by 5 or 6 guys, flailing around, colliding off of each other. Not very malicious, there were know punches or spinning kicks you might see elsewhere. Two bigger guys joined the pit, and most of the smaller ones shied away. Band finishes, lead singer/guitarist throws pick into the crowd, I lose sight of it, but then I feel it hit me in the neck. I shine my phone on the ground and find it between a girl's feet - first pick I ever got from a show.

Band is called out for an encore. Lead singer says, "This right here makes us want to make music and play live for you guys." Went on to make the point, "We can make this our own. We're from Rhode Island, we're a small state, so we own this." Closes with their biggest hit, "Between the Sheets." During the song, a large man wearing a striped button-up shirt, holding a drink in one hand and a camera, attempted to traverse the mosh pit, was promptly hit by a mosher and spilled his drink (gin and tonic, it smelled like) all over me. He fumed for a few minutes, it looked like he was going to start throwing punches, but he resumed singing along and filming the band.

The band throws a few more picks, leaves the stage as the PA system announces that there will be $2 rum and cokes. It's time for me to go, so I leave, running down the street in the rain and singing the songs I just heard.

Fieldnotes 1 - Coming Soon

I'll be posting my field notes a little later than expected to be able to write about a concert this Friday (the notes will be up by noon Saturday). Monty Are I, a post-hardcore band from Cranston, RI and a band I mentioned in my original topic post, is playing this Friday at Club Hell in Providence. The band has a decent reputation in RI, they're former winners of the WBRU Rock Hunt (local music competition) and are currently working on recording a new album. I actually haven't seen a show at Club Hell yet, but from what I understand it's a smaller venue that's working to fill the void left when the Living Room shut down.

Interestingly enough, one of the ways I became aware of this show was a flier I got outside a show at Jerky's (another small venue that's been booking rock shows). The guys handing them out were actually two members of the band, but I just wasn't paying enough attention and didn't get it until my friend pointed it out as we were walking down the street.

So expect notes by noon on Saturday, hopefully with a detailed description of their guitar sharing move. (Basically each guitarist strums the strings on his own guitar but fingers the fretboard of the other's guitar... at least that's what I remember happening, though I've thought long and hard about how to do it with no avail.)

Ethnography Project

The topic I've chosen to research is the post-hardcore scene in Massachusetts, and possibly Rhode Island as well. It's a scene I've been somewhat involved with, but always curious to learn more about. I think Massachusetts has a strong history in the scene, with band's I've listened to like The Receiving End of Sirens (tragically disbanded recently) and Therefore I Am (and Monty Are I in Rhode Island), and others I haven't, like Vanna, A Loss For Words, and Four Years Strong. The origins, definition, and goals of post-hardcore would be interesting to delve into. Additionally, there seems to be a lot of dedication to promotion of local artists within this scene, the networks of which would be worth exploring. Focusing specifically on the members of the scene - clothing, musical tastes, and behavior during live performances would also be topics for investigation. I'm thinking this geographical area will be about the right size, but I may also explore the Northeast as a region, as many important bands to the genre have come from NY, DC, New Jersey, and Philadelphia. Perhaps they will figure into the local scene in their own way.

Questions I would like to ask include:
-What exactly is "post-hardcore"? What is required by the definition, and how solid or fluid are its boundaries?
-What values do its listeners/musicians hold musically? Why does the music itself appeal to them? What other music do they listen to?
-How is this music and the members of its scene viewed from an outside perspective?
-What kind of overlap is there between post-hardcore and emo (or hardcore, or metal, or punk)? How do members of the scene feel about that relationship?
-What kind of localized artist promotion networks exist? Why do they exist? Is there something about the music or the place that is conducive to these networks?
-What is appropriate/expected behavior at live performances? How does this behavior relate to similar/overlapping genres?
-What is the demographic for this music? What is the look, how is it obtained, and where did it come from? Are there personal traits/attitudes associated with the members of this scene?
-What venues are home to this music? What connotations do these venues carry with them?
-What are the origins and influences of post-hardcore? Have their been multiple iterations of post-hardcore? What are the current influences? Where is the genre heading?

Music Scenes Ch 7: The Goth Scene Critical Review

In Chapter 7, Paul Hodkinson points out the remarkable translocal nature of the UK Goth scene, an examines the types of connections that support it. He notes that goths have an uncanny ability to pick one another out, and feel more affiliation to non-local goths than local non-goths. This affiliation is manifested in translocal face-to-face connections established through traveling to shows and festivals, which are in turn bolstered (but not replaced) by connections via the internet. The preference for face-to-face relationships would explain why UK goths demonstrate less interest in establishing intercontinental online friendships, as travel becomes less feasible.

The other key translocal connectors are tied together: tastes and commerce. Goths feel affiliation towards each other through shared tastes, which are targeted by marketing at a translocal level, by mail order CD companies, shared merchandise distributors, and shared information among merchants about what is selling well. Hodkinson makes the point that this musical youth culture may fall in the gray area between globalized mass culture and isolated local culture, given its translocal, but not very transnational, connection methods.

Discussion Question: Why does the author present this unified translocal movement as so easily and effortlessly maintained? Do you think there are more global marketing factors at work than the author would care to admit? Do you think the definitions goths have given to their subculture makes it easier to unify/homogenize across a country?

Thornton Critical Review

This chapter begins by pointing out flaws and discrepancies between the definition of "mainstream" in British club culture (and in general) especially along lines of class and education; then points out that most hard-and-fast dichotomies ethnomusicologists use are flawed and reductionist. Unfortunately, Thornton does not offer much of an alternative system, saying that no club she went to exhibited a crowd she would classify as mainstream, and her "exploration of the meaning of the mainstream" almost becomes an "invalidation of the term mainstream." She does say that "mainstream" is often a vaguely defined term that club crowds use to push against, and define their own crowd, which they claim is more heterogeneous. Towards the very end, she gets into some really interesting dynamics of how specific clubs, through marketing and door policy, delicately shape what kind of a crowd they attract.

Discussion Question:
Is there any middle ground between the binaries that Thornton despises and her totally fluid, "no-one is mainstream" take? Is it enough to admit that, though flawed, "mainstream" is a useful notion in and of itself, or is it only useful as something to be against?