Photo: Rockheim
Perhaps exhibition  “I dreamed I was a real Boya” participate on the times to help us past buy nnsstereotypiar and language ¥ kkritikk. Identity is not something static, but a process, enter curator Synnà examination Engevik.
Today opens the exhibition  “I dreamed I was a real Boya ‘ by Rockheim. The exhibition takes before re wearing sex in Norwegian pop and rock. We present here an excerpt of curator Synnà examination Engevik his text  “buy nnsidentitetar in Norwegian music,” which is part of a collection of essays related to the exhibition.
13 years ago Supervixen debuted on stage on the station Festival in Trondheim, terrified and adrenalinhà ¸ ge. I worked hard with à ¥  get “four flate” to à ¥ à la swing AC / DC Phil Rudd.
quarter stood  “Till The End Of The Daya” (The Kinks),  “Search and Destroy” (The Stooges),  “Next to youa” (The Police),  “No Class” (Mota ¶ rhead) à ² g on the set list. Me hammered loose on the instruments with goals for à ¥ making systematic abrupt k and energy on the line of the great feel rebileta our re. Lead singer and frontman Stina Moltu studied and copied groove, consolation kket, timbre and phrasing to colleague and god Angus Young.
Supervixen never had a plan â?? “Other than à ¥ improve, make good lay taking, have fun y and travel on the turn ©. Despite this, constitutes all the choices we took an artistic strategy. This copies the lead of something that basically is an Anglo-American and highly | rt masculine cultural expression, is interesting from an analytical perspective and in a buy nnsperspektiv.
What happens to the message of The Stooges when the it is framfà ¸ rt of Supervixen?
Look out honey, â?? ~ cause Iâ?? ™ m overusing technology
Aina?? ™ t got time to make no apology
I am a worldâ?? ™ s forgotten boy
The one who searches and destroys
A direct misogyny
à … read the book The Sex Revolt. Gender, Rebellion and Rock?? ™ now?? ™ Roll of Simon Reynolds and Joy Press was a shocking experience, a revelation and a disappointment for me. The two authors made me inter alia on the note that parts of the classic rock expresses a direct misogyny. It has largely passed by me earlier, Rubbish my relationship with rock has mainly been musically and not text. Through song texts  “Under My Thumb”,  “Stupid Girl” and  “Have You Seen Your Mother Baby, Standing In The Shadow? » lampoons the death mes The Rolling Stones with the  «svake” sex. (1)
This made me curious. What lies I have steel tt on stage and communicated?
the last couple of years there has ra à ² g skriveri been much in the media about the topic Popular | rmusikk and sex. Many have gone hard against the male-dominated music journalism. Search | rleg daily press has been made a scapegoat on the basis of focus, quality criteria and language ¥ k Others have reproach an SVA | rt conservative and small buy nnsbalansert music industry (record labels, festivals and educational institutions) for à ¥ brake a trend towards equality. (2)
 “Look at her there â??” She bitch Gala, “Rapper Phil T. Rich, winner of Urà ¸ rt-finals on the P3 and NRK3, 2013. State Canal and the society was then criticized by between other Stian Wallum in Adresseavisen for à ¥ hause up what he thinks is:  “mocking and obskà ¸ nt against female flamboyant sexuality?? | My death three will grow up in a culture where they have to good to be called  “bitch” or  “HOA”. (3)
It’s time to dig a little, and to study a relevant topic from a historical perspective. Perhaps the exhibition In dreamed I was a real boy participate on the times to help us further, beyond buy nnsstereotypiar and language ¥ kkritikk. Identity is the defiance all not something static, but a process. (4)
hoped that the exhibition is to educate and inspire us à ¥ find new strategies, rebellion, identities and words. (5)
(â?? |.)
Frà ¥ exhibition, Black metal case with à ¸ ksa Immortal. Photo: Rockheim
Artists who barometer
We practiced all sex, at any given time. The practice of artists and musicians are SVA | rt visible. Kroppssprà ¥ k, appearance, voice, statements and on the cladding. We take all such elections, every day. But the choices of artists becomes clearer, and when the more. Therefore the function à ² g as barometer. It is acceptable among public figures, gives an indication of how the border goes for us.
Rock is with on the to break down cultural, social and political boundaries, on the same time as it is with on the east ¥ reinforce them. It is a product of culture, and it is with on the à ¥ tell us what is normal, what is man, what is female and what is allowed, expected, sexy, cool and uncool. Pop Music gives us opplà | ring in both the knocks ssing and kissing.
As the exhibition and this text shows there has been a diversity of different buy nnsidentitetar,-ideal and strategies in Norwegian rock, some more challenging than others. Among the most challenging we can mention some get rocked ladies who plugged electric guitar in fetal guy in the 60-year-ra, visebylgja, who were on the to introduce the the soft man and that made the stage located lay gare also for the ladies . Then came punk ladies who made rebellion against commercialism, body focus and requirements for a beautiful and perfect appearance. The 80-year-ra, however, had the man allowed to dress up and à ¥ be sensual â?? “Within both the pop and rock poodle. Something which provoked reactions, and that was reflected in the rock antihero (The Most Và | bottom! Raga Rockers and Foo Fighters) and the creepy, invincible and stereotypical masculine warrior in black metal.
90 – à ¥ à ² launched ra g new identities, many of the female. It was abrupt kete and wide legs women in the underground, electronic and experimental duck pioneers as the search rose against other countries, and lay tskrivarar with acoustic guitar that started their own record label. Later came the à ² g artists that image played with various buy nnsidentitetar. Some have made it their trademark.
Supervixen, which at least initially chose a masculine musical expression, could not verdsherredà ¸ me. But, perhaps inspired me a few along the way anyway. As Marius Lien writes in Night and Day, October 2001:
 «.. I had maybe planning to get to Supervixen to tell a little about how it is to our | re girl band in the boys club rock. If they are alike because they are girls or because they are good. If they give each other cuddles after the concerts. Ha ha, it is inspired by the occult sex-heavy-girl band Rock Bitch. But such talk is ridiculous. It is quite pathetic, actually. For it is not stuff like it’s om. “(6)
Synnà examination Engevik is curator at Rockheim and has curated the exhibition, along with associate curator Jenny whale.
End Notes
1 In  “Dazed and Confused” (Led Zeppelin, 1968, the interpretation of Jake Holmes, 1967), Robert Plant sings, among other things:  «soul of a woman was created below.” (Zeppelin had a thing about witches). Also the punk is kvinnefiendtleg teachers of rhetoric, such as the Sex Pistols brutal anti-abortion lay t  «BodiesÂ,” write John Lydon (Johnny Rotten) to the album Never Mind the Bollocks, Here?? ™ s the Sex Pistols, 1977.
2 In conjunction with the exhibition has Rockheim checked how the steel r with buy nnsrepresentasjonen in Norwegian music, various committees and activities announced in April 2013. The conclusion is that steel is a far better than in 2006, but that there are 5 men and 1 woman in the Fono-board, 6 men and 3 women in Tono-board, 5 men and 1 woman in the by: Larm Board, 5 men and 2 women in à ~ ya-board, 20% female representation on the board of Wimp, and only 15.5 percent of the 76 employees are women Wimp.
3 Wallum, S:  “On behalf of the girls in baksetet” Adresseavisen, 2/16/2013
4 Stone Forest, E:  «Queer music â??” Construction of buy nnsbilder “in Kvalbein, A. and Lorentzen, AH: Music and sex â??” Out of step? (2008)
5 I dreamed I was a real boy is à ² g a verse line lay take  “I’ve got no Strings” on the the brand new album from Jenny whale. (Innocence is Kinky, 2013)
6 Lien, M: Â “Girls just wanna have Funa” in Night & Day (Trondheim), October 2001
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