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After the extreme turn of the late 1980s and early 1990s of metal music, three northern England-based bands – My Dying Bride and Paradise Lost from Bradford, and Anathema from Liverpool, commonly referred to as ‘the Peaceville Three’ – went on to pioneer the musical style which came to be known as death/doom. Mid-1990s have seen these bands’ stylistic shift into a more gothic rock-influenced sound. This Paradise Lost-led shift gave birth to the style gothic/doom. Around this deviation, these bands also started to employ a different sense, or rather a sense, of locality in their music: Paradise Lost started calling themselves a Yorkshire band, instead of specifically Bradford; Anathema shot a video for their 1995 song ‘The Silent Enigma’ in Saddleworth Moor (historically part of West Riding of Yorkshire) in Manchester; and later, My Dying Bride became more and more ingrained in the Goth culture of Whitby, including releasing an extended-play titled The Barghest o’ Whitby (2011), a Dracula-inspired trail guide, and frequently appearing in festivals in Whitby. This ethnographic research with both musicians and fans further suggests the involvement of the North in making and perception of gothic/doom. Applying Michel de Certau’s idea stating that ‘every story is a spacial practice’ within the context of northern England landscape, gothic/doom metal style emerges as an act of northernness. The author proposes to discuss how this act is performed within these bands’ oeuvre and how it is perceived from the listener perspective using interviews with people from around the world, and musicological analyses of significant songs from the repertoire of this trio.

It has been suggested that “space and artifacts constitute systems of communication which organizations build up within themselves” (Gagliardi, 1992a, b, p. vi) and reflect the cultural life within that organization. This is a study of how the “landscape” of a public library (“Library X”), as an information retrieval system, relates to the values of the people who created it. The efforts here are geared towards understanding the physical instantiation of institutional culture and, more specifically, institutional values as they are reflected through the artifact.

Inconsistencies and contradictions in the US government's story of hijackers and their masterminds are examined to account for what happened on 9-11. A little-known initial FBI list of 19, scrutinized for four names not on its final list, calls into question the FBI naming process. We discovered 11 of the FBI-named finalists could not have been on those planes, with 10 still alive and another's identity improvised by a double. The Dulles videotape, essentially the government's case that hijackers boarded the 9-11 flights, is found to have serious problems including authentication, as does the so-called bin Laden “confession” video.

Were “hijackers” known to be in the US before intelligence alleges it knew? Evidence is examined which shows that they were closely monitored by agencies which denied this knowledge; in particular, an undercover FBI agent lived with them the prior year.

Noting government refusal to disclose evidence called for by investigators, we find some pieces altered or fabricated and others confiscated or destroyed. Other revelations point to hijackers with national security overrides, protection in their alternate roles as drug traffickers, and deep political connections with government elites. We investigate patterns, reminiscent of historical intelligence involvement, revealing the presence of a covert intelligence operation disguised as an outside enemy attack.

Purpose – Research on punk culture often falls prey to three main dilemmas. First, an ageist bias exists in most popular music research, resulting in the continued equating of music and youth. Second, punk culture research often uses a Marxist economic lens that implies fieldwork reveals already known conceptions of class and culture. Third, research on punk culture lacks ethnographic and narrative examinations. This ethnographic project explores my reentry into punk culture as an adult, exploring it from a new researcher perspective. It provides an insider's view of emerging cultural themes at the site that disrupts these traditional research approaches.

Methodology/approach – This ethnography examines punk culture at an inner city nonprofit arts establishment. Through grounded theory and using a fictional literary account, this research probes how rituals and cultural narratives pervade and maintain the scene.

Findings – Concepts such as carnival, jamming as an organizing process – and as an aesthetic moment – emerged through the research process. This ethnography found narratives constituted personal and communal identity.

Research limitations/implications – As a personal ethnography, this research contains experiences in one local arts center, and therefore is not necessarily generalizable to other sites or experiences.

Originality/value of paper – Using ethnography, I explored punk as one of my primary identities in tandem with younger members of the scene. It critiques Marxist and youth approaches that have stunted music scene research for decades.

The history of the public library is long and rich, and continues to reflect this institution's initial mission: to respond to the needs of an evolving democratic society. From its early days as a subscription service for the middle-class, through its evolution to become an educational site for the lower-classes and new immigrants, the public library has served as a touch-stone for urban industrial society in North America (Lerner, 1998, p. 138; Shera, 1974). Over the past century, public libraries have evolved to respond to the growing needs of the communities they serve and continue to do so with recent advances in technologies (such as DVDs, electronic books, the Internet, etc.), and with a more global outlook on the ways that people seek and share information. Indeed, the public library's constituents today are exceedingly diverse, including children and adults from a broad range of socio-economic, cultural, and educational backgrounds, all of whom seek information for a variety of personal and work-related purposes. The fact that public libraries have been fulfilling patrons' information needs for well over a century is a testament to their enduring success and versatility as information providers, and also points to the overall effectiveness of public librarians as intermediaries in the provision process.