The punk music scene in Philadelphia is deeply rooted in the prominent hardcore clubs and bands that made the city their home in the 1980s, and it continues to thrive today. College radio stations, like Drexel University’s WKDU and the University of Pennsylvania’s WXPN, also played a crucial role in establishing the scene. While the genre frequently rages against the establishment in both content and performance, it was predominantly men who were on stage and behind the mic, giving voice to the anti-establishment message — at least in the beginning.
Or so the story of punk (particularly hardcore punk) goes. The reality is that Philadelphia’s punk scene has a much more complicated relationship with gender and with the representation of women in that scene. Looking at the broader landscape of punk today, it is not hard to see the legacy of early female punk bands, like the Slits or the more recent Riot Grrrl movement. Philadelphia is no exception to that, with many current bands that have significant female representation and have adopted overt third-wave feminist viewpoints. But this is not necessarily a new formation for Philly punk; the “institutions” of Philadelphia punk — show houses, basements, clubs, and radio stations — have been testing grounds for new and more progressive identity politics, which themselves have been reflections of broader social movements that account for feminist and queer perspectives, for decades.
Kevin Egan is the director of the Center for Interdisciplinary Inquiry in the Pennoni Honors College at Drexel University.
Maren Larsen is the associate editor of The Smart Set. She is a digital journalism student, college radio DJ, and outdoor enthusiast.
Since the winter of 1995, I have had an ongoing love affair. It has continued even to this day, nearly 21 years later. I have been engaged in this romance, if you will, during the course of several relationships and my marriage. I have always been open and honest about my love for Luciano and I will continue to maintain the open and honest attitude about him in any future relationships.
People change over time. Relationships change and evolve, or end. However, Luciano is the one constant in my life. While my thoughts and ideas about him have changed, I can say the changes are positive ones. That is, as I have matured, the way that I think of him has also matured. As I have spent the years watching him, drinking in every nuance of his movements as he speaks or walks across a room, I have moved beyond a mere infatuation. I have become enamored by him: his presence, his work and humanitarianism, and his care and compassion for others. More… “My Love Affair with Luciano”
Stephanie Haun is a band director who lives in Athens, TN. She holds both the Bachelor of Music degree in Instrumental Music Education and an M.A. in English: Literary Study from the University of Tennessee in Chattanooga. During the pursuit of the M.A., her research interests were varied, ranging from tracing the ideas presented in the poetry of Walt Whitman to the music of Bruce Springsteen to Arthur Conan Doyle, Sherlock Holmes, and Cocaine Addiction. Stephanie presented a shortened, conference essay, “Self-Administered, Hypodermically, Subcutaneously, or Intravenously: Exploring the Cocaine Addiction of Sherlock Holmes,” at the Tennessee Philological Association Conference in 2010. She currently attends Queens University of Charlotte and is pursuing an M.F.A. in Creative Writing with an emphasis in Creative Nonfiction.
When she isn't teaching, or scrambling to meet deadlines, Stephanie is a reader of hard-boiled crime fiction, an avid knitter, and a sometimes trombonist.
This month marks the 40th anniversary of a month of shows by the Grateful Dead that are regarded with awe by their legions of fans. At the core is the night of May 8, 1977, when the band played Cornell University’s Barton Hall and delivered what has long been considered their greatest show. In 2011, the Library of Congress added the Cornell show to the National Recording Registry even though it hadn’t been officially released.
This being the Dead, all the May 1977 shows have been circulating in various unofficial ways for decades. There was even an official box set of some May 1977 shows. But, until now, the Cornell show itself had never seen an official release. A limited-edition box set was put out this month, including a recording of the show along with three others previously unreleased. What is revealed should surprise no one at this point: the Cornell show was nothing special. It was in fact a typical night for the band in this period: sounding no different from other shows, comprising a set list of songs that were the usual suspects from that tour. Yet, this is high praise, because in May 1977, no band was delivering anything like what the Dead were putting on stage. More… “The Rocking Dead”
Growing up in suburban New Jersey during the 1960s, I always thought of Leonard Bernstein as a kind of distant cousin. All Jewish families who had emigrated from Eastern Europe had people evocative of Bernstein — charismatic, larger-than-life talents who seemed to skirt danger.
It’s not entirely clear whether Lenny, as his friends called him (though his grandmother had insisted on calling him Louis, his given name) was a child prodigy, only that he loved music from an early age and was branded a genius when he arrived at Harvard. His genius showed most dramatically in his energy and inventiveness — a restlessness that some saw as a tragic flaw. More… “My Cousin Lenny”
When I was 13 or 14 I spent a certain amount of time in my local record store in suburban Connecticut contemplating the cover of Projections by the Blues Project: five proto-hippies hanging out on the corner looking slick with their polka dot shirts and sideburns. And that guy with the coolly arrogant stare with his finger hooked in his belt loop – who was that? Kooper, the most famous one, I recognized from his association with Bob Dylan, and Katz I knew from the covers of two Blood, Sweat and Tears albums, a band that had even then achieved far more success than the already defunct Blues Project. But the swaggering hipster who caught my eye – that was Danny.
I met Danny Kalb in 1996 at a party in Park Slope, where he had lived for some years after the breakup of the Blues Project and a spell in California that had not been good for his mental health. Danny had founded the band in 1965, making the progression from Greenwich Village folkie and resident guitar virtuoso to plugged-in rock and roller. For a while the Blues Project, with their progressive blending of blues, rock, pop, and jazz, looked like they might be the Next Big Thing, but it never panned out; as Danny once told me, he had been a minor rock star for a couple of years. Most people agree that neither Projections nor its under produced predecessor Live at the Café Au Go Go really did justice to the band. Like many a cult band, they never quite got down their vibe on wax. I prefer their third and last album, Reunion in Central Park (1972), which comes closest to capturing their almost-as-tight-as-a-jazz-band-but-not-obsessed-about-it essence. The boxed set The Blues Project Anthology (1997), in the grab-bag way of the band, contains a rich miscellany of rockers, pop ballads, jazzy instrumentals, blues standards, and throwaways, but I can’t improve on the superb liner notes by John Platt and anyway what I really want to talk about is Danny, the only rock star, minor or otherwise, I’ve ever known. More… “A Minor Rock Star”
It was right there, a bit of boilerplate I had slugged in, due to be cut in the next draft: “In light of recent events . . .” I was hundreds of words into sifting the issues that arise when white rap fans use the N-word, knowing that whatever I came up with would be read during one of the most publicly race-conscious moments of recent history. But after Alton Sterling and Philando Castile were shot and killed by cops, many of those words I’d written wanted to twist, or invert entirely. By revising the first sentence, I found a twist. More… “An N of 0”
For a long time, most academic studies of metal were as dark and foreboding as the songs appeared to be. With titles containing phrases like “heavy metal music and adolescent alienation” (1996) and “delinquent friends, social control, and delinquency” (1993), these works looked at whether being a metalhead was associated with a higher likelihood of depression, suicide, violence, and a particular kind of adolescent male aggression. More… “The Positive Psychology of Metal Music”
Each section of this piece is accompanied by song. Press play and crank it.
I stumbled out of the wormhole that was the first few weeks of freshman year and landed at a new member meeting for WKDU, Drexel’s student-run college radio station. A few dozen freshmen, overconfident in their music taste, gathered in an appropriately dingy meeting room. The guy directing the meeting had a pink sticker on his laptop that bore a faux Nike swoosh, underscored by the word “cunt.”
The (impossibly cool) DJs walked us through the basics: what they do, what the training process is like, what it means to be part of WKDU, and their longstanding policy of no top 40 music — from ever, forever. A group in the back sporting t-shirts of some such bands wrinkled their noses and pulled out their iPhones. I leaned in.