Academic literature on the topic 'Musiciens punk'
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Journal articles on the topic "Musiciens punk"
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Xiao, Jian. "The biographical approach in (post-) subcultural studies: Exploring punk in China." European Journal of Cultural Studies 20, no. 6 (November 20, 2017): 707–23. http://dx.doi.org/10.1177/1367549417732999.
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While the biographical approach is widely employed in applied and theoretical social research, it is less fully developed in the specific field of (post-) subcultural studies. The article demonstrates the utility of the biographical method for (post) subcultural studies by presenting research on the punk phenomenon in an authoritarian social context within China. The discussion draws upon a qualitative study based on interviews with 34 Chinese punk musicians. Although the article focuses on one of these musicians in particular, the arguments are informed by broader research findings. Specifically, emphasis is placed on examining how the punk musician experiences the gradual process of deepening commitment to the punk scene and, through this, the multiple levels of power relations in his life. It is argued that the biographical approach can highlight the subjectivity of individual participants in their everyday practices and the wider social context in which they are actors. This article forms part of ‘On the Move’, a special issue marking the twentieth anniversary of the European Journal of Cultural Studies.
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Gratzke, Michael. "The Meanie Club – Gendered violence and post-punk narratives of love in Miss Farkku-Suomi by Kauko Röyhkä and Dorfpunks by Rocko Schamoni." Forum for Modern Language Studies 56, no. 2 (September 13, 2019): 135–54. http://dx.doi.org/10.1093/fmls/cqz031.
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Abstract This article examines love, relationships, intimacy and gendered violence in fictionalized punk biographies by authors and post-punk recording artists Kauko Röyhkä and Rocko Schamoni. Punk rock’s DIY aesthetic emphasizes self-fashioning and shock value. Where mainstream impression management, in the sense of Goffman’s micro-sociology, aims at hiding one’s ‘stigma’ in the presentation of the self, punk makes the individual’s ‘stigma’ the main feature of self-fashioning. This attitude is at odds with the ways in which the lover, in particular the Barthesian wretched lover, seeks to appear as attractive to the object of their affection. Miss Farkku-Suomi (‘Miss Denim Finland’, 2003) and Dorfpunks (‘Village Punks’, 2004) tell similar stories of transgressive self-fashioning leading to a re-instatement of hegemonic masculinity and heteronormative love narratives. This article contextualizes these findings regarding male punk writing by comparing them to the autobiography of female punk musician and writer Viv Albertine.
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Xiao, Jian, and Shuwen Qu. "Performance as Intervention." Journal of Popular Music Studies 31, no. 2 (June 2019): 107–26. http://dx.doi.org/10.1525/jpms.2019.312010.
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This article presents a study on the punk phenomenon in China, with a focus on how the punk musicians create new spaces within music production and performances. More importantly, it will examine how these spaces and acts of performance engage with political structures in contemporary China. By analyzing the impact that the political and economic changes of recent decades have had on the nature of Chinese society and culture, the article will first set out to understand the social context in which the punk phenomenon emerged and developed in China. Drawing on interviews with Chinese punk musicians, a discussion of the politics of place will show how a Chinese punk band has challenged a dominated space by performing in the Tiananmen Square. Informed by Attali’s theoretical discussion on “noise”, the next focus will be on an exploration of the process of power negotiation in performing punk music and seeking punk authenticity through non-conforming practices at government/institution-sponsored events. Overall, it is argued that punk performance can carve out a space for alternative political aspirations through interaction with authoritative figures (e.g. in resisting the existing powers), thus challenging state power and institutional oppression in China.
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Kenny, Dianna T., and Anthony Asher. "Life Expectancy and Cause of Death in Popular Musicians: Is the Popular Musician Lifestyle the Road to Ruin?" Medical Problems of Performing Artists 31, no. 1 (March 1, 2016): 37–44. http://dx.doi.org/10.21091/mppa.2016.1007.
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Does a combination of lifestyle pressures and personality, as reflected in genre, lead to the early death of popular musicians? We explored overall mortality, cause of death, and changes in patterns of death over time and by music genre membership in popular musicians who died between 1950 and 2014. The death records of 13,195 popular musicians were coded for age and year of death, cause of death, gender, and music genre. Musician death statistics were compared with age-matched deaths in the US population using actuarial methods. Although the common perception is of a glamorous, free-wheeling lifestyle for this occupational group, the figures tell a very different story. Results showed that popular musicians have shortened life expectancy compared with comparable general populations. Results showed excess mortality from violent deaths (suicide, homicide, accidental death, including vehicular deaths and drug overdoses) and liver disease for each age group studied compared with population mortality patterns. These excess deaths were highest for the under-25-year age group and reduced chronologically thereafter. Overall mortality rates were twice as high compared with the population when averaged over the whole age range. Mortality impacts differed by music genre. In particular, excess suicides and liver-related disease were observed in country, metal, and rock musicians; excess homicides were observed in 6 of the 14 genres, in particular hip hop and rap musicians. For accidental death, actual deaths significantly exceeded expected deaths for country, folk, jazz, metal, pop, punk, and rock.
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Haddon, Mimi. "Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk." Popular Music 36, no. 2 (May 2017): 283–301. http://dx.doi.org/10.1017/s0261143017000095.
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AbstractThis article examines the complex racial and national politics that surrounded British post-punk musicians’ incorporation of and identification with dub-reggae in the late 1970s. I analyse this historical moment from sociological, intra-musical and discursive perspectives, reading the musical incorporation of dub-reggae by The Police, Gang of Four and Joy Division against the backdrop of the era's music press discourse. I also unpack discursive representations of Jamaican musicians and ask: what role does subaltern performativity play in contributing to ‘imaginary’ critical conceptions of dub, particularly concerning the Jamaican melodica player Augustus Pablo? I conclude by suggesting that post-punk musicians’ incorporation of dub-reggae represents neither an unencumbered post-colonial socio-musical alliance nor a purely colonial one, but rather exceeds and therefore problematises these two positions.
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PIEKUT, BENJAMIN. "Music for Socialism, London 1977." Twentieth-Century Music 16, no. 1 (February 2019): 67–93. http://dx.doi.org/10.1017/s1478572219000100.
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AbstractMembers of the rock band Henry Cow co-founded Music for Socialism in early 1977 with the assistance of several associates in London's cultural left. Their first large event, a socialist festival of music at the Battersea Arts Centre, gathered folk musicians, feminists, punks, improvisers, and electronic musicians in a confabulation of workshops, performances, and debates. The organization would continue to produce events and publications examining the relationship between left politics and music for the next eighteen months. Drawing on published sources, archival documents, and interviews, this article documents and analyzes the activities of Music for Socialism, filling out the picture of a fascinating, fractious organization that has too often served as a thin caricature of abstruse failure compared with the better resourced, more successful, and well-documented Rock Against Racism. As important as the latter was to anti-racist activism during the rise of the National Front, it was not concerned with the issues that Music for Socialism considered most important – namely, how musical forms embody their own politics and how musicians might control their means of production. Affiliated with the Socialist Workers Party (UK), Rock Against Racism produced massive benefit concerts and rallies against the fascist right, drawing together musicians and audiences from punk and reggae. The much smaller events of Music for Socialism enrolled musicians from a range of popular music genres and often placed as much emphasis on discussion and debate as they did on having a good time. The organization's struggles, I will suggest, had less to do with ideological rigidity than it did with the itineracy and penury of musicians and intellectuals lacking support from the music industry, governmental arts funding, labor organizations, or academia.
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Cannady, Kimberly. "Rímur in the Nuclear Age: Sveinbjörn Beinteinsson and Icelandic Traditional Music." Ethnomusicology 67, no. 3 (October 1, 2023): 383–405. http://dx.doi.org/10.5406/21567417.67.3.06.
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Abstract In this article, I examine Sveinbjörn Beinteinsson's performances of Icelandic traditional vocal music, or kveða music, in Reykjavík's early 1980s punk-rock scene. Sveinbjörn was an unlikely participant in the Reykjavík scene as a rural farmer in his late fifties and the first high priest of the Ásatrú religion, yet he developed strong personal relationships with many of the younger musicians. Nearly twenty years later, Sveinbjörn's legacy and vocality inspired the postrock band Sigur Rós's collaborations with Steindór Andersen, another influential kveða musician. I argue that Sveinbjörn's performances in the 1980s offered a culturally intimate bridge between the past and present during an unsettling time of social, political, and economic transitions for many Icelanders. This material draws on archival and ethnographic research, and I offer new interventions in terminology and translation of Icelandic traditional music studies.
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Rouse, Jennah. "‘Punks are not girls’: Exploring discrimination and empowerment through the experiences of punk and alt-rock musicians in Leeds." Punk & Post Punk 8, no. 1 (March 1, 2019): 73–88. http://dx.doi.org/10.1386/punk.8.1.73_1.
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Marchant, Alexandre. "Un manifeste du mouvement punk : extrait de L’Aventure punk de Patrick Eudeline (1977)." Parlement[s], Revue d'histoire politique N° 29, no. 1 (April 5, 2019): 199–210. http://dx.doi.org/10.3917/parl2.029.0199.
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L’Aventure punk (1978) de Patrick Eudeline, musicien et critique de rock, se veut un manifeste de la génération punk en France. Dans l’extrait commenté, Eudeline revient sur les origines de ce mouvement musical et protestataire né à Londres et le définit comme l’expression de « l’ennui et du mal de vivre » de toute une jeunesse occidentale dans les années 1970. Nouvelle forme de l’éternel conflit de générations, le courant punk se distingue par son recours permanent à la transgression. À ce titre, il se doit d’échapper tant à la caricature de la couverture médiatique qu’à toute tentative d’institutionnalisation culturelle, contrairement au rock des années 1960, devenu un « objet de musée ».
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Tyfus, Dennis, and Nico Dockx. "Punk Pong." Forum+ 25, no. 3 (November 1, 2018): 21–28. http://dx.doi.org/10.5117/forum2018.3.tyfu.
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Het merendeel van het drukwerk dat kunstenaars Nico Dockx en Dennis Tyfus produceren met hun respectievelijke labels Curious en Ultra Eczema komt tot stand via samenwerkingen met andere kunstenaars, schrijvers, muzikanten, architecten en performers. Collega’s uitnodigen, met hen in interactie treden, ideeën uitwisselen en ten slotte ook samen creëren, is een even essentieel als noodzakelijk gegeven binnen hun artistieke praktijk. De persoonlijke relaties die ze hebben met andere kunstenaars vormen hierbij het belangrijkste uitgangspunt. Als uitgevers willen ze zich niet alleen inzetten voor, maar ook communiceren over zowel hun eigen als andermans praktijk, vanuit een onmiddellijk en wederzijds begrip van elkaars werk. Dit alles is gebaseerd op ideeën over vriendschap en commoning, een nieuwe, in de marge gegroeide en op de praktijk gestoelde ideologie binnen de samenleving en binnen de kunsten.Most of the printed material that artists Nico Dockx and Dennis Tyfus produce under their respective Curious and Ultra Eczema imprints comes into being as a result of collaboration with other artists, writers, musicians, architects and performers. Getting together with colleagues, interacting with them, exchanging ideas and finally creating something together, is an element of their artistic practice that is just as essential as it is necessary. The personal relationships they have with other artists is the primary jumping-off point. As publishers they not only want to promote and communicate about their own practice but about that of others as well on the basis of an immediate and mutual understanding of each other’s work. This is based on ideas about friendship and commoning, a new ideology that has grown up in the margins of society and the arts and which is rooted in practice.
Dissertations / Theses on the topic "Musiciens punk"
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Traulsen, Andrew. "More than music :." [Chico, Calif. : California State University, Chico], 2009. http://hdl.handle.net/10211.4/107.
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Peters, Sean (Sean Louis). "Listening in the Living Room: The Pursuit of Authentic Spaces and Sounds in Dallas/Fort Worth (DFW) Do-It-Yourself (DIY) Punk Rock." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062889/.
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In the Dallas/Fort Worth (DFW) do-it-yourself (DIY) punk scene, participants attempt to adhere to notions of authenticity that dictate whether a band, record label, performance venue, or individual are in compliance with punk philosophy. These guiding principles champion individual expression, contributions to one's community (scene), independence from the mainstream music industry and consumerism, and the celebration of amateurism and the idea that everyone should "do it yourself." While each city or scene has its own punk culture, participants draw on their perceptions of the historic legacy of punk and on experiences with contemporaries from around the world. For this thesis, I emphasize the significance of performance spaces and the sonic aesthetic of the music in enacting and reinforcing notions of punk authenticity. The live performance of music is perceived as the most authentic setting for punk music, and bands go to great lengths to recreate this soundscape in the recording studio. Bands achieve this sense of liveness by recording as a group, rather than individually for a polished studio sound mix, or by inviting friends and fans into the studio to help record a live show experience. House venues have been key to the development of the DFW scene with an emphasis on individual participation through hosting concerts in their homes. This creates a stronger sense of community in DIY punk performance. Through participation observation, interviews, analysis of source materials, as well as research in previous Punk scholarship, questions of authenticity, consumerism, and technology and sound studies, this thesis updates work on the experience of sound, listening, and the importance of space in DIY punk communities today.
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Guy, Stephen. "The nature of community in the Newfoundland rock underground /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81493.
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Twenty-five years of independent, underground, or punk rock music-making in St. John's, Newfoundland, have been defined by geographic isolation. In tracing a historical record of the small city's punk/indie scene, this project seeks to evaluate recent academic discussion surrounding the role of collectivity in artistic 'independence' and examine the impact of prevailing international aesthetics and changing communication technologies on local practice. The self-containment and self-sufficiency of the St. John's music community, largely the product of the city's isolated position on the extreme eastern tip of a large island off the east coast of North America, provide a unique backdrop against which to foreground a discussion of the distance between indie/punk rhetoric and reality. I contend that 'scene' in popular and academic use refers to the casual aggregation occasioned by similar interest and shared location, while 'community' hints at effort, co-operation and productive support.
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Wilson, Angela 1979. "After the riot : taking new feminist youth subcultures seriously." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81521.
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This thesis argues that in North America since the late 1980s, young women's interest in feminism has been expressed through participation in feminist music subcultures. The project provides an overview of the studies of culture, musical subculture, and gender and music making, as well as an historical context of feminism and a discussion of the relationship between second and third wave feminism.The first case study explores Riot Grrrl's roots in the DIY activism of DC hardcore punk, its links to the female-oriented indie music scene of Olympia, Washington, and the subculture's use of alternative media. The second study examines efforts to integrate queer politics into third wave feminism through lesbian punk rock music subculture. The final study of electronic feminist punk rock examines how young feminists use alternative media such as zines, internet message boards, web sites, music making, and performance to educate young women about sexual abuse and homophobia.
Analysis of the Riot Grrrl, lesbian punk rock, and electronic feminist punk rock subcultures demonstrates how young women claim spaces for their own feminist politics, even if they have gone relatively undetected by the mainstream culture.
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McLaughlin, Adria Ryan. "Navigating Gender Inequality in Musical Subgenres." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2600.
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This study looks at female musicians performing in subcultural rock genres commonly considered non-gender-conforming, such as punk rock, heavy metal, noise, and experimental. Twenty-four interviews were conducted with female musicians who reflected on their experiences as musicians. Themes emerged on women’s patterns of entry into music, barriers they negotiated while playing, and forces that may push them out of the music scene. Once women gained a musician identity, their gender functioned as a master status. They negotiated sexism when people questioned their abilities, assumed men played better, expected them to fail, held them to conventional gender roles, and sexually objectified them. Normative expectations of women as primary caregivers for children, internalization of criticism, and high personal expectations are considered as factors that contribute to women’s exit from musical careers. This research closes with suggestions for how more women and girls can be socialized into rock music.
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Hyndman, Sheena. ""Give me the safe word and smack me in the mouth, my love" : negotiating aesthetics of sound and expressions of love in the music of she wants revenge /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45946.
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Thesis (M.Ed.)--York University, 2008. Graduate Programme in Education.Typescript. Includes bibliographical references (leaves 127-132). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45946
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Van, der Meulen Lindy. "From rock'n'roll to hard core punk : an introduction to rock music in Durban, 1963-1985." Thesis, 1995. http://hdl.handle.net/10413/5019.
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This thesis introduces the reader to rock music in Durban from
1963 to 1985, tracing the development of rock in Durban from
rock'n'roll to hard core punk. Although the thesis is
historically orientated, it also endeavours to show the
relationship of rock music in Durban to three central themes,
viz: the relationship of rock in Durban to the socio-political
realities of apartheid in South Africa; the role of women in
local rock, and the identity crisis experienced by white,
English-speaking South Africans. Each of these themes is explored
in a separate chapter, with Chapter Two providing the bulk of
historical data on which the remaining chapters are based.
Besides the important goal of documenting a forgotten and ignored
rock history, one central concern pervades this work. In every
chapter, the conclusions reached all point to the identity crisis
experienced both by South African rock audiences and the rock
musicians themselves. The constant hankering after international
(and specifically British) rock music trends both by audiences
and fans is symptomatic of a culture in crisis, and it is the
search for the reasons for this identity crisis that dominate
this work. The global/local debate and its relationship to rock
in South Africa has been a useful theoretical tool in the
unravelling of the identity crisis mentioned above.
Chapter Four focusses on the role of women in the Durban rock
scene and documents the difficulties experienced by women who
were rock musicians in Durban. This is a small contribution to
the increasing field of womens' studies, and I have attempted to
relate the role of women in rock in Durban to other studies in
this field.Thesis (M.Mus.)-University of Natal, Durban, 1995.
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Olišarová, Pavlína. "Vzorce užívání návykových látek u aktivních hudebníků v hudebních skupinách na Benešovsku." Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-448479.
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Introduction: Addictive substances among musicians is a common occurrence. However, this phenomenon is mostly described only by the musicians themselves in their autobiographies. There is little professional work to address this phenomenon. There are many factors that affect musicians and lead them to use addictive substances. Even though this phenomenon is so widespread, it is taken for granted and few pay attention to it. Aim: Aim of thesis is to identify and describe patterns of substance use in active musicians in music groups that are based in the Benešov region, but play outside this area too. Methodology Data were collected in the form of a semi-structured interview. A list of music groups was created using the bandzone website. These groups were then found on Facebook to find out their activity. They were also subsequently approached here. 9 researched musicians took part in the research. Responses from the interviews were recorded directly by hand. Overwrite was performed while data was being written. Subsequently, the data were analyzed by elements of grounded theory. Using open coding, the codes were assigned to important topics in the text. These topics were grouped using axial coding. Using these categories, patterns of substance use among active musicians in music groups based in the...
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Nell, Wendy Desre. "Afrikaanse liedtekste in konteks : die liedtekste van Bok van Blerk, Fokofpolisiekar, the Buckfever Underground en Karen Zoid." Diss., 2014. http://hdl.handle.net/10500/18832.
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Text in AfrikaansDie doel van hierdie studie is om op die liedtekste van die kunstenaars, Bok van Blerk, Fokofpolisiekar, The Buckfever Underground (en Toast Coetzer) en Karen Zoid te fokus en om te bepaal wat hulle funksie in die eietydse Afrikaanse kultuurlandskap is, en wat hulle rol in die definiëring van kulturele identiteit is. In hierdie studie sal daar ook klem gelê word op die sosiopolitieke faktore wat tot die opbloei van die Afrikaanse musiekbedryf gelei het. Deur die analise van dié kunstenaars se lirieke, sal ek vasstel of hulle wel betekenisvolle werk van literêre gehalte lewer. Ek het spesifiek hierdie musikante gekies omdat hulle jong eietydse musikante is.
The purpose of this study is to focus on the song texts of artists, Karen Zoid, Fokofpolisiekar, The Buckfever Underground (and Toast Coetzer) and Bok van Blerk and to determine their function in today’s cultural reality, and whether these musicians and their music have an influence on today’s youth and their search for a Cultural Identity. This study will also focus on the socio-political factors that led to the rise of the Afrikaans Music Industry. By analyzing these artists’ lyrics, I want to determine whether they are significant works of literary quality. These musicians were chosen because they are regarded as young contemporary musicians.
Afrikaans & Theory of Literature
M.A. (Afrikaans)
Books on the topic "Musiciens punk"
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McNeil, Legs, and Gillian McCain. Please kill me: The uncensored oral history of punk. New York: Grove Press, 1996.
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I︠U︡riĭ, Konstantinov. Pedalburg: Gorod gitarnykh pedaleĭ. Moskva: Komiks Pablisher, 2018.
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Legs, McNeil, and McCain Gillian, eds. Please kill me: The uncensored oral history of punk. London: Little,Brown, 1996.
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Savage, Jon. England's dreaming: Anarchy, Sex Pistols, punk rock, and beyond. New York: St. Martin's Press, 1993.
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author, Herschlag Rich 1962, ed. Marky Ramone: Punk rock blitzkrieg. London: Music Press, 2015.
Find full textBook chapters on the topic "Musiciens punk"
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Smith, Gareth Dylan. "Musicians as Musician–Teacher Collaborators: Towards Punk Pedagogical Perspectives." In Musician–Teacher Collaborations, 39–49. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-4.
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Xiao, Jian. "The Biographical Approach: The Story of a Chinese Punk Musician." In Punk Culture in Contemporary China, 47–68. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0977-9_3.
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Budur, Diana. "Dating a Gypsy Punk Musician: Cultural Appropriation and Ethnographic Fieldwork Among Brazilian Romanies." In Sex, 73–83. London, UK: Bloomsbury Academic, 2018. | Series: Encounters: experience: Routledge, 2020. http://dx.doi.org/10.4324/9781003086659-8.
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Sexton, Jamie. "Documenting Scenes and Performers 1: Punk, Smithereens and Suburbia." In Freak Scenes, 80–103. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474414067.003.0005.
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This chapter turns attention to the representation of indie scenes and musicians. It commences with an overview of two films which represent different strands of punk music and cultures. As punk music is considered an important mode of music which both influenced indie, and continued as a variant of indie music, this chapter analyses tensions between reality and fiction, between authenticity and performance, which have continued as key tensions informing the values of indie music cultures. The chapter looks at Smithereens (1982), which documents New York punk cultures in the early 1980s, and Suburbia (1983), a more nihilistic interrogation of hardcore punks in LA.
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Rapport, Evan. "Punk and the White Atlantic." In Damaged, 139–70. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831217.003.0005.
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Punk emerged as a fully formed and recognizable style in the mid-1970s in the United Kingdom, primarily in London, and in the United States, primarily in New York and Los Angeles. British punk musicians such as the Damned, the Clash, and the Sex Pistols during this period put together elements from American punk and its precedents, including elements that were previously heard in distinction from each other, such as the riff-based blues of the Stooges and back-to-basics rock and roll songs of the Ramones. Although this period is marked by a preoccupation with whether punk was “invented” in the US or UK, in fact, punk is a product of exchanges between musicians across the Atlantic, with much of the music continuing a long history of white people using a vocabulary of Black musical resources, including blues and reggae, to explore identity, class distinctions, and the nature of whiteness itself. These exchanges in punk are comparable to the so-called “British Invasion” of the prior decade. The discourse of making the mid-1970s UK a starting point for punk also appears to be an idea that American musicians were primarily invested in, and an idea that further dissociated punk from its basis in Black American music.
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Ensminger, David A. "Jeffrey Lee Pierce." In Roots Punk, 89–106. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496848413.003.0006.
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This chapter hones in on Jeffrey Lee Pierce, a Hispanic punk fan and fanzine writer turned lead singer for The Gun Club, one of the country’s molten punk bands that melded an earnest and deep love of the blues with feisty rock’n’roll. Though he has died, fans, fellow musicians, and I revisit his legacy, methods, and traits.
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Ensminger, David A. "The Beatnigs." In Roots Punk, 179–84. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496848413.003.0014.
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This chapter focuses on the contribution of famed alternative hip-hop unit The Beatnigs both to the discourse of rebellion and to the underground music network of the post-hardcore era. As black musicians exploring the boundaries between punk, jazz, hip hop, funk, industrial, and beyond, they draw attention to race relations, hybrid musicality, and the role of mass media in controlling a society’s freedom.
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Garrigós, Cristina. "The Monster in the House." In Women in Rock Memoirs, 40—C2N1. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197659328.003.0003.
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Abstract Gender-based violence is a key concern for the Chicana punk musician. Alice Bag’s memoir, Violence Girl: East L.A. Rage to Hollywood Stage. A Chicana Punk Story (2011), addresses this issue by describing her father’s violent nature and how he beat her mother in front of the young Alicia, who was powerless to prevent it. Even though her father was never aggressive with her, as she explains in her writing, the violence that she witnessed at home became an important part of her growing up, and she channeled it through the ethos of punk. This chapter discusses how, by writing her memoir, Bag explores gender-based domestic violence; it reflects on the effect that this violence had on her life as a woman and artist, and on the development of her identity as Chicana, punk musician, and feminist.
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Tochka, Nicholas. "How Rock Got Real Again." In Rocking in the Free World, 131—C6F1. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197566510.003.0007.
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Abstract Rock musicians and critics began narrating new histories for rock music in the Seventies. While mainstream critics, especially the writers at Rolling Stone, traced an unbroken chain of individual rebellion back to the Fifties, a new group of upstart writers, most prominently Lester Bangs, argued that rock had lost its way in the Sixties. They lionized Sixties garage rock and championed the new, harder, more aggressive sound of punk and then hardcore music. This chapter focuses on the historical consciousness of rock writers to explain how punk and hardcore scenes could be viewed as utopian, democratic spaces in contrast to mainstream rock. Situating this shift against broader contemporary anxieties about the conservative turn in American politics and the changing economic opportunities for average citizens, it explores how punk and hardcore musicians acquired powerful new associations with democracy and personal liberation as part of an important new counternarrative in rock history.
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Rapport, Evan. "“Ignorance of Your Culture Is Not Considered Cool”: Reconsidering the Avant-Garde Impulse in American Punk." In Damaged, 63–92. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831217.003.0003.
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This chapter reconsiders the role of American rock experimentalists such as Captain Beefheart, DEVO, and the Residents in the formation of punk’s musical style. Although these musicians are often referenced in punk histories, their contributions are typically misunderstood because of an anachronistic focus on the British punk scene of 1977 as punk’s starting point. These musicians used avant-garde approaches to American popular music and vernacular culture in order to tackle American music’s unacknowledged and whitewashed history, including such controversial practices as blackface minstrelsy, as well as the problems of white suburbia, the war in Vietnam, the failures of hippie idealism, and a frustration with both mainstream American culture and the counterculture.
Reports on the topic "Musiciens punk"
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Gratzke, Michael. ‘Confessions of a MILF (I chose being an artist over being a wife)’. Love and relationships in Viv Albertine’s memoirs. University of Dundee, February 2022. http://dx.doi.org/10.20933/100001240.
Full textAbstract:
The memoirs of (post-) punk musician Viv Albertine address the issue of choice or lack thereof in romantic and family relationships. They depict a world in which choice of romantic partners appears normal if often unsuccessful, whereas choice within family relationships is restricted. It is self-evident that one cannot choose one’s blood relatives. However, amplified by Albertine’s scepticism towards any social relationships, her two memoirs represent ‘negative choice’ (Eva Illouz) in heterosexual romantic relationships and the complex ways in which negative choice can change family dynamics. In her memoirs, Albertine presents loneliness as the opposite of love which aligns with her model of choice, as it is preferable to live a lonely life over being bound up in love relationships, romantic or familial, which are harmful to one’s wellbeing. This article demonstrates how the ethos of early punk is translated into an uncompromising process of life writing which presents itself as faithfulness towards the individual’s core need for self-realisation and self-expression against the backdrop of failing romantic and familial relationships, severe physical and mental health problems, a self-diagnosis of autism and a patriarchal society.