Rock and Metal Moms Research Study!

Hi world! I know it’s been some time. I’m still mired in the life of a tenure track librarian but I’ve got some nice news. My IRB was approved for the study – Rock and Metal Music Mothering: The Role of Musical Parenting So if you fit the criteria, which is – be female or female identifying, age 18 and up, a mother, and involved in NY’s Tri-state Rock and Metal Music subcultures – please take the survey or SHARE widely.

For this study, involvement within the Rock and Metal music subcultures consists of being a fan, musician, or related music industry worker. Participation is voluntary and you can choose to end your participation at any point during the survey.

In addition, I’m looking to do one-on-one, in person/email/phone interviews, so if you’d like to do that, I’d love to meet you! Please message me. Thanks so much! And enjoy the Instagram pic deatured [at] @designingmotherhood, artist: @dustdiablo

Update: Recording of Barnard Panel Talk on Women in Rock and Metal

I meant to share this back in June, but of course so many things were happening. I was conferencing like a fiend, researching, and finalizing my new job status! On top of that, Vish and I were visiting pre-schools for Ella. Afterwards, summer hit, and all I could think about was fiscal close procedures at work and how to plan for Ella’s birthday.

So with all of that finally behind me, I’ve now have a tiny bit of relief in my schedule and am trying to get back on the horse with blog posting. Some of you might remember that back in May I co-moderated and organized a panel at Barnard College about women in the rock and metal music scene here in NY. It was panel born out of my thesis research. And although I posted about the wonderful shout-out we got from the online magazine, The Tempest, I wanted to share the recording that my husband did of the event.

So without further ado – here’s Part 1 and 2 of Women in Rock and Metal Music.

Panel speakers were: (from left to right) Charlotte Price (co-moderator), Joan Jocson-Singh (me!!), Mindy Abovitz (Tom Tom Magazine), Laina Dawes, (music journalist), Justina Villanueva (photographer), and Cristy Road (artist, musician & zinester)
Disclaimer –  In Part 1 you can hear a bit of my daughter’s babble, but it’s only for about a minute and half.

It gets better. Enjoy!

Part 1

 

Part 2

On Special Music Collections

AmericanLibraries

Issues of the punk-rock fanzine Slash are included as part of UCLA’s punk archive. Photo: UCLA Library Special Collections – from the American Libraries Rock in the Vault Article – May 2, 2016.

I’ve been talking for some time about the need for a special music collection on Metal music in NYC, so I was glad to see this recent article entitled, Rock in the Vault published over at the American Libraries website. It’s about how university libraries are becoming the new place to go for music archives.

The article mentions both Rutger’s growing collection on rock, hardcore and punk music as well as Cornell’s collection on the Hip Hop genre.

As for NY, we’ve a rich tri-state history on Metal. There’s venues that could offer historical information like L’Amour’s of Brooklyn or even the closed down record store Metal Kingdom in Queens. Ephemeral materials abound in the form of zines, cassettes, vinyls, patches and documentaries. As a metal music scholar & librarian, having physical collections as primary resources is just one way we can solidify and start building our place in the larger academic world.

It would be my dream to start this at Columbia…so here’s hoping I find a way here or elsewhere.   \m/

Panel talk: Women in Rock & Metal Music

flyer-womenrockmetal

Join the Barnard Library for a lively discussion on gender, race, violence, and acceptance in the NY rock and metal scene with panel speakers Mindy Abovitz (Tom Tom Magazine creator/editor), Kristen Korvette (creator of feminist website Slutist), Laina Dawes (author of ‘What are you doing here? A black woman’s life & liberation in heavy metal‘), Justina Villanueva (photographer & artist), and Cristy Roads (punk musician, zinester, & artist).

Moderated by Columbia University librarian and metal scholar Joan Jocson-Singh, and Barnard Library’s own performing arts librarian Charlotte Price, this event is open to everyone. Check out the Facebook event

Here’s the event page over at Barnard college:
http://library.barnard.edu/events/Women-Rock-Metal-0

Many thanks to Justina for designing this web flyer!

Death’s Metal Maiden: The Portrayal of the Grotesque Female Body on Extreme Metal Album Covers

I’m taking a much-needed break from writing my actual thesis and instead looking at the art produced for extreme metal music albums. In this way, I feel like I’m paying homage to my first love in academia: art history.

I recently came upon an interesting CFP on my blog feed from the University of Winchester. This upcoming summer, they are holding a conference on Death, Art, and Anatomy and put out a call for papers on any research having to do with the following topics:

  • Death and art
  • Anatomy and death
  • Anatomy and art
  • History of anatomy
  • History of death
  • Religion and anatomy
  • Religion and death
  • Medieval and early modern death beliefs and practices

It got me thinking, and I started to explore the idea of how some extreme metal album art could be an extension of the medieval concept of grotesque realism.

So I began reading and discovered previous research making this claim by author and Professor Karen Bettez Halnon. In her paper, Heavy Metal Carnival and Dis-alienation, she examines the use of grotesque realism in performance, lyrical construction, and the appearance of bands like Gwar, Slipknot, and Cradle of Filth. Although these bands are not all categorically extreme metal, it made me think about controversial extreme metal cover art that has been produced in the past few decades.

Referencing philosopher and critic Mikhail Bakhtin, Halnon defines grotesque realism in relation to her study as a form of “heavy metal carnival,” whereby the noise of commercialism is dismantled and transgressed by heavy metal’s ability to challenge societal norms of conduct, dress, taste, morality and civility (Halnon, 2006). What this encompasses is a fandom and culture that encourages the obscene and bizarre, disassociating it from general musical audiences that would favor more socially-accepted styles of popular music, visual art and fashion.

As an example, she cites the band Gwar, who spray their “slaves” (the audience) with red-colored water (symbolic of blood) and other bodily fluids, effectively enacting a spectacle of grotesque through fantastic and fictional displays of human dismemberment, torture and beheadings. On its most base level, this spectacle transgresses the limitations of real and fantasy for participating fans. Like Halnon believes, “the display signifies the creative life-death-rebirth-cycle”. (Halnon, 2006)

GwarWithin the paper, Halnon echos Bahktin’s own definition of grotesque realism as:

“Eating, drinking, defecation, and other elimination (sweating, blowing of the nose, sneezing), as well as copulation, pregnancy, dismemberment, swallowing up by another body—all these acts are performed on the confines of the body and the outer world, or on the confines of the old and new body. . . . The grotesque image displays not only the outward but also the inner features of the body: blood, bowels, heart and other organs. Its outward and inward features are often emerged into one.” ([1936] 1984: 317–18)

Does this not sound like extreme metal to you? Hanlon goes on in her paper to talk about inversion within the heavy metal carnival. What really caught my attention was the following:

“The carnival-grotesque is not only exposing the deep (hidden, vile, disgusting), interior aspects of anatomy but also what is spurned, spoiled, stained and hidden in the body politic. Inverting the ordinary devaluation, invisibility, or “symbolic annihilation” of those positioned at the bottom of (social) hierarchies (Larry Gross quoted in Gamson 1998:22)”

These two statements mark further evidence of the grotesque for lyrics constructed by extreme metal bands like Carcass, Cannibal Corpse, or Deicide. However controversial the works of these bands and bands like them can be construed, it made me curious to explore the imagery depicted on albums of this nature.

Furthermore, I wondered if the often violent and horrific covers of extreme metal albums were indeed an extension of both the medieval grotesque and heavy metal carnival, then what research, if any, was being conducted specific to the treatment of women, so often depicted in controversial images flagging the albums.

If I decide to write a paper for this conference, I think it will broadly speak to the use of grotesque imagery on extreme metal albums as a form of intentional aesthetic and then move more specifically to the depiction of women, particularly the thematic imagery of Death and Women on covers.

\m/ –Hail Metal– \m/

Individual Thought Patterns: Women in NY’s Extreme Metal Music Scene – 10.19.15

Cover of Natalie Purcell's book

Cover from Natalie Purcell’s book, Death Metal Music: The Passion and Politics of a Subculture

I just realized that although I’ve been working on this research for some time, I’ve rarely posted anything that’s part of the draft thesis. So in case you were wondering…here’s a sample of what I’ve been writing about. I’ve included the abstract, table of contents, and just the working introduction, which reads very auto-ethnographic.
Draft – Individual Thought Patterns
And of course, please feel free to contact me if there’s something just glaringly odd/off. It’s still a draft form so I’m sure my advisor and second reader will have changes in mind.

Thanks  \m/

“If we don’t own the narrative of our own bodies, somebody else will use it against us.” -Kiran Ghandi

Just read this post by marathon runner Kiran Ghandi, who some of you might have heard of on the news because she dared to run a London marathon during her period, without, (gasp), a pad or tampon!

kiran1

While I wouldn’t personally do this–I think it takes great balls (pun intended) to brave this out and make it a statement — which is women shouldn’t be ashamed of their bodies. I know my own reasons stand to be looked at critically regarding why I wouldn’t do this, which is also why I can say being socialized a certain way disservices both men and women in our society. Acts like Kiran’s make me re-examine what I think about body hair, bodily fluids and perception. This self-reflecting my friends, is a good thing.

There was a great point made about how people wouldn’t look twice if someone ran with a nosebleed and blood all over their shirts. Yet somehow women’s bodies fall under a specific category of policing – it’s both fascinating and disturbing. We need to ask why.

On another note, to tie in with my love of all things music– Kiran’s also the drummer for several bands, including – M.I.A, Thievery Corporation, Madame Gandhi. Being a female drummer in itself is another avenue in which women can break stereotypes. I love it! If you ask me, it’s very metal and it’s very feminist.

Kiran2

All in all, I’m glad she brought attention to an issue all women go through with regard to body image.

As I’ve been living under a rock, you’ll be sure I’ll be reading more about Kiran Ghandi.

Finally in her words, “If we don’t own the narrative of our own bodies, somebody else will use it against us.”

Women and Death

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One of my favorite bloggers has done it again! Curator Carla Valentine, over at The Chick and the Dead blog has published another excellent post–this time about Women in the Death Industry–nope, my metal-head friends, not the Death Metal Industry, though I’d have to say the following quote below made me think it apropos for my own observations–

“If death is most often anthropomorphised into a foreboding, grinning male does it not make sense that his companion is female? The current ‘trend’ for women in the death industry is not a trend, then, but merely an influx of women taking their rightful place back at death’s side and, once again, becoming the guardians of the dead.”

Check out her very informative and enlightening post:

http://thechickandthedead.com/2015/07/28/the-corpse-brides-women-in-the-death-industries/

Archiving, Librarianship, and Art

So the other day I was digging through old papers and found this antiquated gem–it’s basically the opener to an essay I submitted that eventually got me the grant to gain my archives certificate while I was studying Library Science at Pratt Institute, back in 2006. Sadly, my archives certificate is gathering dust, as my career has moved onto more acquisitions-based duties. However, I can say without a doubt that the skills I’ve gained with archival practice have stayed with me, especially through my ongoing collecting of heavy metal music ephemera. Upon re-reading this section of my essay, I got nostalgic and a bit weepy if I really admit, that yes, this was a great reminder of why I wanted to study archives and be a librarian.

During my undergraduate years, I was a double major in Art (Drawing & Painting) and Art History (Medieval Art & Architecture). Being an art student gave me an easy way to transition into librarianship. I was in the slide library at my school on most days researching for art assignments anyway! And, I recall becoming heavily-influenced with visual resources and their influence on poets, writers, musicians and painters. The strong impact of an image on the brain was something I could never ignore. The visual image, as created by an artist, arises as part expression, part dreams realized. It’s probably why I didn’t hesitate to use John Constantine in my opening quote below. There’s something beyond our comprehension in art that sparks the wonder that amazes the human brain. Finding and preserving that experience is part of what motivates me in my daily work.

So read on below and hopefully enjoy one of my earliest essays that steered me towards my first passion of librarianship.

“One thing I’ve learned. You can know anything. It’s all there. You just have to find it.”
John Constantine, in SANDMAN #3: “Dream a Little Dream of Me

From the beginning, my thoughts on archival study and librarianship were tied with the needs of both knowing and preserving. As a child, I had been enamored of the adventures and mysteries of history. Learning to unlock secrets of the past, the feel of something old, traveling through places I could never go, somehow traveling through time and correlating experiences with the past had all been wonders to me. Now, as an adult, I find myself pursuing an extension of that youthful bewilderment and want. I have come to believe Constantine’s quote of being able to know anything because the answers to the glamours of history are all somewhere out there, waiting to be found. The unwrapping of the past and the thrill of discovery have been strong attractions to my curious mind. I found that in my first two semesters in the SILS program at Pratt, I have been able to learn the new and various ways in which to access this knowledge, these secrets. With formal education came a need to further my opportunities with exposure to great minds. I wanted to learn more and to know that that information would last through the future, that there was not a time limit on intellectual value.

To me, nothing could have grounded this need for exploring and preserving more than the passing of my mother last summer. Previously, it had not truly struck me just how much I would come to treasure not only the memories of our life together, but also the physical remnants of everything that I had shared with her. Unfortunately, there is very little of the physical left to remind me of her greatness, perhaps a necklace or other such jewelry, some photos, and myself – the most physical thing I have remaining to remember her by.

Instead of allowing the sense of loss to sadden me, I found a way to foster this need to remember and preserve. I found the key through educating myself and others. It wasn’t long after my enrollment at Pratt Institute that I came to understand the truth of my goal of gaining a Master’s degree. I wanted, and still want, to preserve information and help to disseminate its distilled knowledge to others. It has become a desire to both educate and inform the community of the importance of knowledge and its preservation.

I’ve found that almost all people innately collect. But why? Is it an effort to remember; to retell or to learn? What becomes so special about preserving the past? The value is subjective. It lies in the experience and knowledge gained through the act of preservation. By preserving and caring about our past, we gain insights into how to care for our future. We learn to be advocates of enduring values, both physical and intellectual. It is my hope that, by the end of this program, I will have the skills necessary to aid in the preservation of history, and show people that they can know anything, that they just need to search hard enough and experience the joy of discovery.

Needless to say, I became a recipient of the Archives Certificate program grant at Pratt and had the wonderful opportunity of working with the Othmer Library’s archival materials (see pictures above) housed within the Brooklyn Historical Society building in Brooklyn Heights. It was really an influential time in my budding career and I wouldn’t trade that experience for anything.

And for those interested, here’s the link to the finding aid I helped revised during my work at The Brooklyn Historical Society:

Popular Culture Conference, April 1-4 2015

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My colleague Angela Washington and I presented at this year’s Popular Culture Association (PCA) Conference in New Orleans. This presentation was more aligned to my first love– art librarianship and not to metal music, though I did attend a metal panel at this conference.

Sailor Moon manga - MMA Dark Kingdom-2We presented our paper entitled, “The Metropolitan Museum of Art Gets Graphic: Building a Collection for the Library” under the Libraries, Archives, Museums, and Popular Research panel. We decided to present on how we started the graphic novel collection at the Met’s Nolan Library when I was working there back in 2010. It was right before we hired the current Public Services Librarian who is now conducting the teen and children’s programming. We were first up on our panel and got to meet and see wonderful presentations from the head bibliographer at Tulane and librarians from  both San Diego State University and Florida International University. Overall, our presentation went very well and Angela did a great job at explaining the Watson and Nolan’s collection policy and its unique nuances involved with selecting, purchasing, processing and programming at the libraries.

Below was our panel line-up:

The Metropolitan Museum of Art Gets Graphic: Building a Collection for the Library The libraries of the Metropolitan Museum of Art are home to over 900,000 books and periodicals… Angela Washington

Joan Jocson-Singh

The Metropolitan Museum of Art Paper
Poodle with a mohawk: Collecting cat and dog comics in an academic rare books department In New Orleans, with its wealth of distinctive popular culture associations, it may not surprise… Joshua Lupkin Tulane University, Howard-Tilton Memorial Library Paper
NSFW: Sexually Explicit Comics in Academic Libraries Sexually explicit topics have been safely explored in the academic bubble for decades. However,… Anna Culbertson San Diego State University Paper
Doujinshi and Libraries Doujinshi are Japanese publications, usually created by amateurs and fans, though occasionally… George Pearson Florida International University Paper

Of course, I was most excited to attend the Music (metal) panel because of the papers presented (see below). A highlight for me was hearing Victoria Willis’s presentation on The Dialetic of T(werk): Hegel, Marx, and Womanist Agency in Mastodon’s “The Motherload” Video, because of her theoretical framework and it’s relation to feminism.

Title Body Presenter Affiliation Presentation type
Sunn O))) – A Camp Dimension? In a video posted to YouTube, the drone metal band Sunn O))) can be seen performing an… Albert Diaz UCLA Paper
“Rime of a Metal Mariner” “Rime of a Metal Mariner” looks at Iron Maiden’s “Rime of the Ancient Mariner” as an adaptation… Justin J. Roberts University of Kentucky Paper
The Dialetic of T(werk): Hegel, Marx, and Womanist Agency in Mastodon’s “The Motherload” Video In this paper, I examine the role of twerking in Mastodon’s recent video for “The Motherload.”… Victoria Willis Georgia State University Paper
Hype, Visual Personae, and “Real” Music: The Example of Lana del Rey Before Lana del Rey’s first album, ‘Born to Die,’ hit the stores, she was an internet sensation… Mark Allister St. Olaf College Paper

And the panel on Music (Gender) was too great to pass up:

Title Body Presenter Affiliation Presentation type
Bring It On Home: Gender and Sexuality in Led Zeppelin Sasha T. Strelitz: “Bring It On Home: Gender and Sexuality in Led Zeppelin”

Many…

Sasha Strelitz University of Central Florida Paper
“Bootylicious” with “Love on Top”: Female Empowerment and Performing Sexual Agency at the 2013 Super Bowl Halftime Show In the middle of an exclusively masculine contest of muscle and strategy between the Baltimore… Claire Anderson University of Washington Paper
“Papa, you ain’t got no mama now”: Analyzing Female Agency in Race Record Ads When it comes to analyzing and understanding blues music, many researchers have turned to the… Catherine Gooch University of Kentucky Paper
“What a Great Song…Except for the Lyrics!: Examining Rape Culture in Popular Music”

In this paper, I explore the cultural and social landscape that popularizes music that…

Melinda Mills Castleton State College Paper

I’ve been telling folks for years that the Popular Culture Association is the most interesting academic conferences I’ve been to. Because it deals with popular culture, it really spans disciplines and is one of the more affordable conferences to attend if you’re not a member. You can present as an independent scholar which is also nice. I had a great time meeting other academics and really enjoyed learning about the varied research that’s going on all of the states.

Next year’s conference will be in Seattle – so I’m really looking forward to that.