WKNC will be off the air the weekend of June 17-18. Image created in Canva.
As part of NC State’s Power Forward initiative to upgrade the campus electrical grid, Witherspoon Student Center will be without power the weekend of June 17-18.
As the radio station is housed in Witherspoon, WKNC HD-1, HD-2 and HD-3 Wolfytes Radio will go off the air and off webstream starting at 8 p.m. on Friday, June 16. Power will begin being restored at 8 a.m. on Monday, June 19.
Without WKNC music to keep you company, we strongly recommend checking out our podcasts and YouTube channel.
In the event of rain, the outage will be rescheduled for June 23-24.
Judas Priest formed in Birmingham, England in 1969. In its early years, the band underwent numerous lineup changes.
In 1972, the band recruited Rob Halford as a vocalist. In May of the following year, Halford had his first show with Judas Priest at The Townhouse in Wellington.
Halford’s success would eventually earn him the title “Metal God” by his fans as Judas Priest moved on to become one of the most influential heavy metal groups of all time.
Drawing influence from Black Sabbath, Led Zeppelin and Queen, Judas Priest distinguished itself with a unique musical and aesthetic style.
When imagining frontman Rob Halford, one may see him clad in leather, draped in chains and donning a muir cap.
Perhaps a testament to his distinct stylistics, many fans were unsurprised when Halford came out as gay in an MTV interview in 1998.
As Halford explained, he feared the destruction of his identity and career. For much of his involvement with Judas Priest, he did not see a place for himself as a gay man within the metal scene.
And while the aftermath of Halford’s MTV interview demonstrated that Judas Priest’s success did not hinge upon its frontman’s sexuality, Halford’s story is an important staple in metal history.
Namely, it stands to affirm the necessity of representing queerness in metal.
Metal’s Issue with Queerness
While Judas Priest is far from what could be considered an iconic queer band, Halford’s openness with his sexuality is important.
In a subculture placing a heavy value on traditional masculinity, queerness often begets hostility.
While subcultures like the metal scene, the punk scene and others formed in part as countercultural movements, it’s undeniable that they themselves foster a sort of hegemony.
Cover for Judas Priest’s “Turbo”
These spaces are often saturated with specific demographics who, purposefully or not, exclude individuals existing outside of these spheres.
For queer people, the metal scene specifically can be particularly hostile. For a movement not rooted in leftist politics but rather anti-establishment ideology, this does not always mean that certain differences are tolerated.
The Veneration of Heterosexuality
Often, patriarchy and heteronormativity underscore the metal scene.
While Steele argued that the song was purely humorous and ironic, its homophobic themes were undeniable.
You can drool, beg me and hope There’s no damn way I’m playing drop the soap Ok, I know I’m strange but I ain’t no q– So take your rage and disappear But I’m proud not to be PC
Cause
I like goils
Type O Negative, “I Like Goils”
In Steele’s song, he portrays homosexuality — and gay sex — as disgusting and strange.
His reference to “political correctness” smacks of classic boomerisms decrying inclusivity and progressive language.
While it’s fully possible given Steele’s track record that he was simply “being edgy,” this doesn’t excuse the harmful ideology his song presents, nor does it mean his audience is capable of critically receiving the alleged irony outlined in his song.
Edginess only works when everyone is in on it.
The Relevance
For much of Steele’s career, his persona hinged on his sexuality. Specifically, the ways in which he desired — and was desired by — women.
There’s nothing inherently wrong with this, and I’ll be the first to admit that I am a fan of most of Type O Negative’s discography.
I also don’t deign to imply that Peter Steele had any influence on Rob Halford of Judas Priest, or that the two men are somehow connected beyond their simple association within the genre of metal.
Rather, what I aim to focus on are how the dynamics surrounding Peter Steele are indicative of larger discourses that affect queer individuals, specifically queer men, within the metal community (we won’t get into how the metal scene treats women, lest this post become a multi-chapter dissertation).
Cover for Judas Priest’s “Ram it Down”
Queer men pose a subversion of archetypal male roles. In the often hypermasculine metal scene, male queerness can be seen as weakness, fragility or inadequate manhood.
The veneration of a very specific, often regressive ideal of masculinity makes the metal scene inaccessible — and perhaps dangerous — to many individuals.
This was likely a factor in Halford’s decision to be private about his sexuality for so long, the idea that there wasn’t a “place” for his identity in the metal subculture.
That is why recognizing Rob Halford’s sexuality is so important. To know that Halford, named “Metal God” by his fans, is happily married to another man solidifies a place for queerness in the scene.
Halford’s signature leather and studs, evocative of the style of “leather daddies” and emulated by millions of straight male fans of Judas Priest, blurs the hard-set line between heterosexuality and homosexuality.
The band’s continued success following Halford’s entrance from the closet demonstrates that identity cannot obfuscate talent and performance.
It brings us back to the roots of metal’s purpose as a force rallying against oppressive institutions and conformity.
Ultimately, a place where queerness deserves to exist.
Last week, we learned about the proliferation of queercore within the hardcore punk scene.
To briefly recap, queercore emerged as a subculture in the mid-1980s. It started from punk’s DIY scene, with purveyors of handmade magazines and other forms of media serving as the movement’s basis.
Queercore, also known as homocore, reflected the experiences of LGBT individuals in a society that was often hostile towards open displays of queerness.
“homocore block in 1994 chicago pride parade.” Image published to Wikimedia Commons by QZAP.org, licensed CC BY-SA 2.0
While I primarily focused on Limp Wrist’s influence on the scene, there are numerous other bands that defined the genre.
As we move farther into pride month, I encourage both members of the LGBT community and allies to reflect on the convictions outlined by the queercore scene.
To help with this, I’ve composed a short “field guide” of various tracks and artists — some punk, some not — classified under the “queercore” umbrella.
Pansy Division
This band has a classic summertime driving-down-the-road-with-the-windows-down style.
Closer to the sound of blink-182 than Limp Wrist, Pansy Division is edgy but light enough for casual listening. With upbeat guitar riffs and a sardonic lead vocalist, the band produces tracks to be enjoyed both ironically and in earnest.
Album cover for “More Lovin’ From Our Oven” by Pansy Divison
Based out of San Francisco, the band formed in 1991 and solidified itself as one of the only openly gay rock bands in the contemporary scene.
Touring with Green Day in 1994, Pansy Divison was one of the most commercially successful queercore bands to exist. The band’s pop-punk style and often-comical songs about queerness garnered significant acclaim.
A flagrantly ironic cover of a Nirvana classic, this track cleverly queers one of the most well-known songs by one of the most gatekept bands. Play this track for your favorite straight white man and watch his blood pressure surge.
Against all odds, we appear Grew up brainwashed, But turned out queer Bunsplitters, rugmunchers too We screw just how we want to screw Hello, hello, hello, homo
Pansy Division, “Smells Like Queer Spirit” (Nirvana cover)
He looks as good in a skirt as he does in jeans He is a most notorious queen His personality, I’m not impressed But I can’t wait to get him undressed
Pansy Division, “Fem in a Black Leather Jacket”
G.L.O.S.S. (Girls Living Outside Society’s S–)
Based in Olympia, Washington, G.L.O.S.S was an openly trans-feminist hardcore punk band.
Formed in 2014 and dissolved in 2016, the band’s existence was tragically brief. While G.L.O.S.S. had the opportunity to “make it big” with a $50,000 deal by Epitaph Records, the band ultimately decided to remain unaligned with a large corporation.
Shortly after turning down Epitaph’s deal, G.L.O.S.S. announced its breakup in an issue of the punk zine Maximum Rocknroll.
Cover for G.L.O.S.S. album “Trans Day of Revenge”
The band members explained that the growing “cult of personality” surrounding the group, as well as the obligations of touring and performing, were taking a toll on their mental and emotional health.
The band’s sound blended classic hardcore with trans-affirming themes to create raucous, angsty riffs striking back against heterosexual hegemony and anti-transness. Their songs are undeniably iconic.
They told us we were girls How we talk, dress, look, and cry They told us we were girls So we claimed our female lives Now they tell us we aren’t girls Our femininity doesn’t fit We’re f– future girls living outside Society’s s–!
They told us to die, we chose to live They told us to die, we chose to live Straight America, you won’t ruin me Sick American dream
G.L.O.S.S., “Lined Lips and Spiked Bats”
Los Crudos
As I mentioned in last week’s post, Limp Wrist’s predecessor was a Chicago-based band called Los Crudos.
Active from 1991 to 1998 and comprised of all Latin American members, Los Crudos helped to make a place for Latine punks in a predominately white subculture.
Album cover for “Doble LP Discografia” by Los Crudos
The band tackled themes related to imperialism, xenophobia and immigration. All songs were sung completely in Spanish.
In addition, they openly called out homophobia — the band’s lead vocalist, Martin Sorrondeguy, was openly gay — and thus Los Crudos solidified themselves as adjacent to the queercore movement.
With a career spanning between 1998 and 2005, The Butchies started in Durham, North Carolina as an all-female punk band.
Though their style was far from hardcore, they were a distinct force within the queercore movement.
Their songs were imbued with staunch political messages, focusing on themes relating to lesbianism, gay romance and misogyny.
Album cover for “Are We Not Femme?” by The Butchies
In a 1999 issue of The Advocate, singer-guitarist Kaia Wilson said of the band’s reputation for its leftist politics:
“I say, maybe it’s because we’re so openly hated every day, maybe because one in three teens who commits suicide is gay. I say that the people who come to our shows are glad that we are [political].”
Well it’s not supposed to bring you madness And it’s not too far too cold forgiveness When we hold to truths so false like bibles Won’t you come and meet me here
Who are you anyway and how did you get inside II heard you’re from the gay galaxy and now you’ve got to hide Sure wish you would have gone here Wish just the same you’d stay next year
While Student Media is often recognized for design work for its print publications, student radio station WKNC 88.1 FM HD-1/HD-2 is also winning awards.
Ray Ray, a rising third-year student studying chemistry, earned first place in the promotions and advertising category in the Edmund C. Arnold Chapter of the Society for News Design at Michigan State University annual student design contest. Ray, host of “Western Wednesday” on WKNC, submitted a series of three promotional designs created for the show.
Maddie Jennette, a May 2023 graduate in computer engineering and the station’s general manager from 2021-2023, took third place in the contest with a design promoting the station’s Double Barrel Benefit 19 concert.
The contest features categories such as front page and special section design, digital storytelling, alternative story format, infographics and promotions and advertising. Judges for the contest included representatives from the New York Times, Washington Post, Wall Street Journal and Walt Disney Company.
WKNC typically fairs well in the contest, also earning honors for promotions and advertising in 2011, 2013, 2015, 2016, 2018 and 2021.
The past few years have shown a huge spike in the popularity of music that could be described as “techno” and “synth-pop.” Even new genres have formed, such as “hyperpop” or “glitchcore.” 100 gecs brought hyperpop to a semi-national spotlight, but the genre expands far beyond 100 gecs.
Artists are using samples from popular video games and clips of internet-culture media, as well as creating irresistible beats that are sure to be ear worms.
It’s an interesting genre, because it contains music that can be produced pretty independently, given the increase in production technology artists can get their hands on today. It’s cool to see pop thriving in a way this isn’t commerical, factory-produced cookie-cutter fluff.
My playlist is as follows:
“HI 5” – Frost Children
This song is off Frost Children’s new album, “SPEED RUN,” which I can’t get enough of. I wrote a bit about this release in an upcoming blog post of mine, so keep an eye out for that.
“back2me *°:⋆ₓₒ” – Yameii Online
“bag!” – Malldate, mark drizzle
Mark drizzle is an artist I’ve written about before, and this collab with artist Malldate is super fun and catchy. I’ve got another one of mark’s songs later in the list, which is a single for an upcoming release.
“if god didnt want us to snort worms he wouldnt have made them cylindrical” – MIMDEATH
This MIMIDEATH album, “effective. Power” was released in 2020, but I’ve noticed it getting a lot more attention in the past few months, and it’s warranted– it’s really experimental and exploratory hyperpop/glitchcore with a ton of really cool samples, including samples from other artists in the genre.
“sweet dreams” – 8485, blackwinterwells
“any%” – mark drizzle, dynastic
“seeker missile” – dynastic
“movies for guys” – Jane Remover
Jane Remover blows me away with every song, and this song off their 2021 album “Frailty” is fantastic– every time I listen to it, I feel like I’ve listened to three different songs in a six-minute span.
“Dumbest Girl Alive” – 100 gecs
“hello?” – TURQUOISEDEATH
These songs aren’t ranked nor are they a list of the top songs I’ve enjoyed in the hyperpop and synth-pop genres, but they’re a good start for those wanting to dive deeper into the genre.
2023 has already been a great year for music. In honor of reaching the year’s halfway mark, I’ve compiled five of my favorite albums released so far in 2023 (in no particular order), as well as five albums I’m looking forward to spinning later this year.
