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|Size||1.0 feet of linear shelf space (approximately 750 items)|
|Abstract||The collection of Greg Barbera, a white music journalist, musician, and band manager for PIPE, from Carrboro, N.C., chiefly consists of published versions of his writings, including an article reflecting on the tenth anniversary of Merge Records; photographs he took for the Raleigh, N.C. weekly The Spectator; and ephemera he collected, all of which document the local music scene of Chapel Hill, N.C., and the Triangle. Also included are notes and receipts for Mise en Scene, his book project about bands, bars, and people of the Chapel Hill music scene, photocopies of comics drawn by Kevin H. Dixon, and audio interviews conducted by Barbera with bands and musicians, including Melvins, Willie Nelson, and Aaron Stauffer.|
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Greg Barbera provided the following biographical information* in October 2018:
Greg Barbera (1968- ), was born and raised in Rockville, Md., a Montgomery County suburb just north of Washington, D.C. He gravitated to music at an early age, soaking up doo wop, Frank Sinatra and the Glenn Miller Orchestra that his parents often played. As a young boy, he would don headphones and listen to Casey Kasem count down the Top 40. His first record was a purple 45 rpm single of "Sweet Talkin' Woman" by ELO. He wrote his first record review for his high school newspaper and out of it was born a music journalist. While most kids were going to parties at the houses of absent parents in high school, he ventured into the seedy underbelly of Washington, D.C., to see more bands than he could possibly name during the '80s.
After graduating from Towson University in Baltimore with a degree in mass communications, he migrated to Los Angeles and began contributing to various music and alternative sports publications such as the infamous skateboard magazine Big Brother, the popular Transworld Skateboarding and Raygun's pop culture stepchild Bikini. In 1995, seeking a change of pace, he moved to Carrboro, N.C., and landed a job as a contributor for Raleigh's Spectator Weekly. Weekly newspapers of its ilk, like D.C.'s City Paper and LA Weekly had left an indelible mark on him; being able to contribute to one was an honor. He spent several years as the music editor covering the local music scene in the Triangle. Because the budget was tight, he embraced the do-it-yourself ethic punk rock had bestowed upon him and began taking along a camera during interviews and live show reviews. With a Yashica T4 and pen and paper, this collection of ephemera was born. Over the years, he has contributed to a wealth of publications from Guitar World and Magnet to various and sundry zines like Razorcake, Salt For Slugs, Trash and Film Threat. He played bass and—cough, cough—sang in the local band Chest Pains. And was once, for a brief moment in time, the manager of Chapel Hill inimitable PIPE.
*Greg Barbera's original text was lightly edited to conform with the style guide in use.Back to Top
The collection of Greg Barbera, a white music journalist, musician, and band manager, from Carrboro, N.C., consists of published versions of his writings, including an article reflecting on the tenth anniversary of Merge Records; a small notebook on Leadfoot; flyers, bumper stickers, and other ephemera documenting the local music scene; PIPE tour contracts; notes and receipts for Mise en Scene, his book project about bands, bars, and people of the Chapel Hill music scene; photocopies of comics drawn by Kevin H. Dixon; 35mm photographic negatives and contact sheets of images Barbera took circa 1995-2005 for the Raleigh, N.C. weekly The Spectator, documenting the local rock music scene; and audio interviews conducted by Barbera with bands and musicians, including Melvins, Willie Nelson, and Aaron Stauffer of the bands Seaweed and Gardner. Audio recordings are on audiocassette and microcassette.Back to Top
Arrangement: by format.
Greg Barbera has supplied this descripton: "The book outline is a series of photos (bands, bars, people etc) with a corresponding page about its/their relevance to the local music scene. Most likely each entry peppered with a few annotations, a glossary at the end?...The receipts are an art element to be used to create a collage with other stuff like those pocket-sized show calendars, ticket stubs, lanyards, promotion items etc. Essentially a piece of the puzzle of the cover layout. The centerfold would be comprised of gig posters by Ron Liberti, Matt Hart, Casey Burns et al."
|Oversize Box OB-20556/1|
Photographic Prints, Photographic Negatives, Mounted 35mm Slides
Photographs taken by Barbera depicting various bands, bars, and people of the Chapel Hill, N.C., music scene. Also included are some images of Merge Records in Durham, N.C.; as well as a few sets of images depicting music venues and bands in Raleigh, N.C.
|SFC Audio Cassette FS-20556/1||
Ryan Adams; Mike Craver, Wagoner's Lad #20556, Series: "Greg Barbera Collection, 1995-2005." FS-20556/1
|SFC Audio Cassette FS-20556/2||
|SFC Audio Cassette FS-20556/3||
|SFC Audio Cassette FS-20556/4||
|SFC Audio Cassette FS-20556/5||
Aaron Stauffer of Seaweed (active 1991-1999) and Gardner (active 1999)
Processed by: Nancy Kaiser, Patrick Cullom, Anne Wells, January 2019
Encoded by: Nancy Kaiser, January 2019
Since August 2017, we have added ethnic identities for individuals and families represented in collections. To determine ethnic identity, we rely on self-identification; other information supplied to the repository by collection creators or sources; public records, press accounts, and secondary sources; and contextual information in the collection materials. Omissions of ethnic identities in finding aids created or updated after August 2017 are an indication of insufficient information to make an educated guess or an individual's preference for ethnicity to be excluded from description. When we have misidentified, please let us know at firstname.lastname@example.org.Back to Top