Archive for 2011

Punk Rock, Materiality, and Time

Monday, May 2nd, 2011 by Bill Caraher

I spent part of the weekend doing three things: learning how to make pasta with my new pasta maker, listening to low-fi punk, and reading Kathleen Davis’s Periodization and Sovereignty (Penn 2008). I am not sure that I learned much applicable to this blog from making pasta (although it was delicious last night at dinner), but low-fi punk, a short Twitter exchange, and Davis’s book did bring together some ideas that I had been meaning for some time to post to our semi-dormant Punk Archaeology blog.

The low-fi sound that has become popular thanks in large part to bands like the White Stripes, the Black Keys, and other purveyors of so-called Punk Blues positions itself as an antidote to the austere, “over-produced” stylings of contemporary pop music.  (Recently, I’ve been hanging out with the album “GB City” by Bass Drum of Death, but I also listened to Soledad Brothers self titles solo album and their more polished 2006 offering The Hardest Rock. My original idea for a post was to compare the low-fi, thoroughly average sound of “GB City” to the produced sound of Arcade Fire’s “Suburbs”, but that seemed too easy). The sound harkens back to garage rock and rough live albums produced in make shift recording studies on 4 and 8 track recording machines.  Low-fi recordings replaced the spaceless character of the recording study with the gritty and flawed presence of the garage, the basement, or the warehouse. Echoing and distorted vocal tracks compete for space against raw guitars and abusive drums. The best low-fi captures something of a hastily-arranged live recording without actually being anywhere in particular. Low-fi comes from anyone’s basement, garage, or abandoned strip mall.  It embodies marginal (maybe even abandoned) spaces (it’s not surprising that Detroit has become a Mecca of low-fi sound) and pushes out music that speaks to haste, temporary accommodations, and immediacy without specificity.

With the advent of digital music, low-fi has projected the materiality of its sound by producing vinyl LPs or even cassette tapes.  The sonic texture of the 8-track recorder in the basement or garage comes packaged in neatly anachronistic forms that insists upon a material presence even more physical than the music itself.  A friend of mine (on Twitter ironically enough!) suggested a track from an Oblivian’s album recently. When I asked whether she could share the track with me, she told me that she only had it on vinyl! So the grounding of low-fi music in a time and place moves from the practice of recording and to its materiality as a recorded product. Digital music, which can exist simultaneously in an infinite number of places resists any effort to impose physicality (and with music moving to “the cloud” in the very near future the location of music recordings will become all the more ambiguous).

The link between the physical sound of the low-fi recording and its circulation in physical media positions low-fi (and punk) to resist (in an ironic way, to be sure) the ephemeral character of so much “cultural” production today. From blogs and ebooks to musings in the indistinct space of social media, the viral distribution of music and video, and claims of a reimagined-ascetic minimalism, the space or even material nature of cultural production is collapsing in on itself.  In the future (bee-boop-boop-boop-beep), the diagnostic rims of Late Roman fine ware vessels will be stray bits of sound, text, or video clinging to the deteriorating disks of disused servers or discarded along with iPods and Kindles in modern middens.  Unlike the vinyl LP or even the (comparatively) primitive cassette tape, there is little on the iPod or Kindle that links it physically to the music or text stored on the device. Moreover, the use of these devices  do not cause the music or text to deteriorate.

So, I sat around this weekend, grading papers, making pasta, reading Kathleen Davis’ book, and listening to the space of low-fi sound spooling off a hard drive and running through my stereo. I could listen to it as much as I wanted and wherever I wanted.

Rock in Athens 85′

Tuesday, January 11th, 2011 by Kostis Kourelis

On July 26-27, 1985, the ancient stadium of Athens hosted an interesting happening organized by the newly formed General Secretariat of Youth (Γενική Γραμματεία Νέας Γενιάς) and the French Ministry of Culture. Rock in Athens 85′ was a two day New Wave rock festival, which was quite cutting edge for its time. Although major bands like the Rolling Stones had performed in the ancient stadium before (Apr. 17 1967), Rock in Athens was the first rock festival to ever take place in Greece. A New Wave festival at Kalimarmaro in 1985? How radical is that? But it makes little sense considering the lack of a following for New Wave in Greece at this time. A Heavy Metal festival would make sense, rising naturally from Greece’s Hard Rock tradition. I can’t be certain about my observations, since I wasn’t present, but as a committed follower of New Wave, I was struck by the shortage of punks in the summers that I would visit Greece. My cousins, who followed music closely, would confirm these observations. I was a New Wave Greek-American looking for a scene in Greece. Sure, there was the punk band Panx Romana from 1977, singing “You Greeks! you are worms, and the Acropolis doesn’t belong to you/Έλληνα είσαι σκουλίκι και η Ακρόπολη δε σου ανοίκει.” And there were also anarchists squatting in Athens (less institutionalized and violent as they are today). And there was the store REMEMBER 77, on Adrianou 77 in Plaka (founded 1978), where I bought my first Creepers in 1991.

What makes Rock in Athens 85′ peculiar is its sponsors. The festival was conceived by the Greek and French Ministries of Culture. It was a state event televised on national TV and hence totally different from festivals like Woodstock, Live Aid, Coachella, or the extremely successful Rockwave in Athens. Melina Merkouri, then Minister of Culture, was present. Priceless footage shows the grand Merkouri meeting the wild Nina Hagen (and her clean-cut mother) backstage. The General Secretariat of Youth was formed in 1982, soon after Georgios Papandreou’s Socialist government won elections and tried to liberalize cultural policy that had been dominated by the conservative right and its family-tradition-religion priorities. Quoting the current website, the Secretariat’s task was (and still is) “shaping, monitoring and coordinating the government policy for youth and its connection with society and social entities. In this way, Greece was harmonised with the european and international practice of high-level, self-sustained and integral government services aiming to public youth policies.” We must also remember that, only two weeks earlier in the summer of 1985, Live Aid took place in London and Philadelphia. But this was a private venture, organized for famine relief in Ethiopia by Bob Geldof. Live Aid was the first concert to be televised in a global scale through satellite. As the interview with Boy George reveals, Culture Club did have a fan base already in Greece. But it seems that there was not enough of a fan base for each of the bands to appear individually. The festival garnered each group’s small fan base into a guaranteed (and cheap) event. We must also consider that Rockin’ Athens 85′ was not exclusively targeted to Greeks. Hoards of vacationing European and American youth attended. After all, Greeks flee Athens for the countryside in July and August.

Whatever the motivations of the concert may have been, it seems to have taken a great risk. As a result it did begin shaping cultural attitudes at least in so far as New Wave’s popularity boomed. Nevertheless, the conflict between audience and performers, the awkwardness of the ancient stadium, the July heat are all evident in the videos. The performers included Culture Club, Depeche Mode, Stranglers, Nina Hagen, the Cure, Talk Talk, Telephone and a surprise guest star, the Clash (or at least the remnants of the Clash–Mick Jones and Nicky Headon had already left, and the Clash disbanded in 1986). According to eye-witness accounts, fights broke out between the police and fans outside the stadium. Italian tourists were somehow involved.

If anyone wants to watch the televised festival (ERT2), you can find it almost in its entirety (minus the Clash performance) on Youtube. Extremely interesting are the backstage interviews below. To see the Melina-Nina encounter, go to Part 3. In the spirit of Punk Archaeology, Youtube allows me to investigate an event that took place in the ancient Panathenaic stadium that was reconstructed for the first Olympics of 1896. The footage is source material for an ephemeral moment. The videos not only transport us to a different era of Greek cultural policy, but they offer evidence for an almost surreal confrontation between a primarily Anglo-American youth movement and a resisting Mediterranean. Just watch the accumulation of sweat on Boy George’s face as the night progresses. Although I haven’t studied the videos in great length, they also reveal tensions in a cultural dialogue. Note for example homosexual tensions between Boy George and the audience. I hope that the readers of this posting interested in the history of the Greek 1980s will offer closer reading and insights.

Interviews Part I

Interviews Part II

Interviews Part III

For those that want to watch the concert in its entirety, the following links will direct you to individual band performances:

July 26:
Telephone 1, 2, 3, 4, 5
Culture Club 5, 6, 7, 8, 9, 10, 11

July 27:
The Stranglers 11, 12, 13, 14, 15
Talk Talk 15, 16, 17, 18
The Cure 18, 19, 20, 21