Relevant bibliographies by topics / Muslim youth Punk rock music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Muslim youth Punk rock music'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Muslim youth Punk rock music"

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Larkey, Edward. "Austropop: popular music and national identity in Austria." Popular Music 11, no. 2 (1992): 151–85. http://dx.doi.org/10.1017/s0261143000004980.

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The diffusion of rock and popular music from the US and British mass entertainment industries since the 1950s has had a profound impact on the music traditions world-wide. Several generations of youth have been socialised to the musical accompaniment of rock and roll music of the 1950s, the ‘beat music’ of the 1960s, the so-called ‘psychedelic’ or ‘underground’ rock music of the 1970s, disco, punk and new wave music in the 1970s and 1980s. It has resulted in the transplantation of these ‘foreign’ styles into music cultures with small groups of fan communities for rock and roll, country and wes
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McDowell, Amy D. "“This is for the Brown Kids!”." Sociology of Race and Ethnicity 3, no. 2 (2016): 159–71. http://dx.doi.org/10.1177/2332649216647747.

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Recent research shows that non-Muslims “read” Muslim and non-Muslim Others through an Islamophobic lens, whether the victims of Islamophobia are practitioners of Islam or not. Yet how Muslims and non-Muslims band together against anti-Muslim racism in nonreligious ways and venues is less understood. The author draws on a wide range of qualitative data to show how “Taqwacore” punks ( taqwa means “God consciousness” in Arabic and core comes from hardcore punk) create a racial identity as “brown kids” that is panethnic and opposed to the major racial frames used to vilify Muslims and brown-bodied
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Mulej, Oskar. "“We Are Drowning in Red Beet, Patching Up the Holes in the Iron Curtain”: The Punk Subculture in Ljubljana in the Late 1970s and Early 1980s." East Central Europe 38, no. 2-3 (2011): 373–89. http://dx.doi.org/10.1163/187633011x597207.

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AbstractThis article discusses the phenomenon of punk in Ljubljana, the capital of Slovenia, from its beginnings in the early 1970s to its heyday in early 1980s and its subsequent differentiation and dissolution in a wider alternative scene. The subject is thereby being treated primarily as a genre of protest music and as a youth subculture. A special focus is given to the harsh reactions on part of the communist regime, in particular the 1981 “Nazi punk affair,” and the strong political significance punk thus came to possess—albeit to a large extent unintentionally. Excerpts of lyrics from Lj
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Jamil, M. Mukhsin. "From Hard Rock to Hadrah: Music and Youth Sufism in Contemporary Indonesia." Teosofia 9, no. 2 (2020): 275–86. http://dx.doi.org/10.21580/tos.v9i2.7959.

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Many studies on Islam in Indonesia usually focus on Islamic movements from social, economic, or political perspective. One missing viewpoint that does not get much attention or even completely ignored is the spiritual life of the Muslim youths. This study would examine and analyze the growth of the Syeikhermania and their attachment to Hadrah music of Majelis Shalawat Ahbab al-Musthofa led by Habib Syeikh Abdul Qadir Assegaf, an Arabic-descent Muslim preacher. Unlike Muslim youth organizations that are enthusiastically active in political movements that tend to be radical, Syeikhermania plays
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HAYTON, JEFF. "Crosstown Traffic: Punk Rock, Space and the Porosity of the Berlin Wall in the 1980s." Contemporary European History 26, no. 2 (2017): 353–77. http://dx.doi.org/10.1017/s0960777317000054.

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This paper argues that crosstown traffic in the East and West German punk subculture was an essential aspect of how popular music helped to challenge the political legitimacy of the East German government. West German punks frequently crossed the border to attend Eastern punk concerts, meet with friends and trade stories and experiences, connections that helped to foster a transnational community of alternative youths. These interactions denied official claims that punk was the result of capitalist decadence while undermining the East German government's efforts at cultivating a distinctive so
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Van Liew, Maria. "The scent of Catalan rock: Els Pets' ideology and the rock and roll industry." Popular Music 12, no. 3 (1993): 245–61. http://dx.doi.org/10.1017/s0261143000005705.

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Since when do Catalans speak Catalan and who are they anyway? Perhaps the 1992 Olympic Games have shed some light on Catalan identity for outsiders, but I believe the idea deserves development with a focus on the recent phenomenon of ‘rock en català’. By focusing on language and Catalan nationalism, by no means driven by a homogeneous ideology, I hope to clarify these questions about Catalan identity and its role in popular culture. In 1985 what would inspire four youths from Spain's north-eastern coastal region to pick up instruments they had never played before, with the exception of the dru
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Spaskovska, Ljubica. "Stairway to Hell: The Yugoslav Rock Scene and Youth during the Crisis Decade of 1981–1991." East Central Europe 38, no. 2-3 (2011): 355–72. http://dx.doi.org/10.1163/187633011x597225.

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AbstractThe article discusses the role of the Yugoslav rock/punk scene in late socialism and the youth as its main consumer and producer, with an emphasis on the responses to the 'apocalyptic' shifts in the socio-political arena, generally channeled through various liberal, anti-war, and antinationalist initiatives and campaigns. Based on interviews and primary material from the 1980s, the text closely analyses the context of the last Yugoslav decade, the all-encompassing reality and discourse of crisis, as related to the public exposure and responses of the youth and the music circles. The ar
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Helton, Jesse J., and William J. Staudenmeier. "Re-Imagining Being “Straight” in Straight Edge." Contemporary Drug Problems 29, no. 2 (2002): 445–73. http://dx.doi.org/10.1177/009145090202900209.

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In the early 1980s the term “straight edge” was coined to describe a youth subculture within the punk rock scene, a subculture that chose a lifestyle that abstained from alcohol, tobacco and drugs as well as promiscuous sex. While considered a smaller youth scene today than in its peak years of the late 1980s, straight edge has evolved into an international, more complex subculture with several different strands. This paper explores the youth subculture of straight edge, with a special focus on how they construct and signify their abstinence from alcohol and other drugs while often participati
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Szőnyei, Tamás. "Kept on File: The Secret Service's Activities against Popular Music in Hungary, 1960–1990." East Central Europe 38, no. 2-3 (2011): 199–220. http://dx.doi.org/10.1163/174552411x600095.

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AbstractThe study shows that in the People's Republic of Hungary, within the frames of the mono-party system, the state security service—functioning according to the directives of the ruling communist party—was keen on trying to hinder the influence of Western ideologies from corrupting the youth through popular music. This fight was going on from the early '60s through 1990, the year that brought about the change of the political system, the transition from dictatorship to plural democracy, from planned economy to free market. To achieve their goal, to influence the functioning of the institu
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GUERRA, PAULA. "UM LUGAR SEM LUGAR... NO ROCK PORTUGUÊS." Outros Tempos: Pesquisa em Foco - História 17, no. 29 (2020): 181–204. http://dx.doi.org/10.18817/ot.v17i29.757.

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Neste artigo procuraremos analisar os motivos para a invisibilidade feminina no rockportuguêscomo aspeto central da construção da feminilidade da contemporaneidade portuguesa. Noutro lugar demonstramos a existência de uma consistente dominação masculina no rockportuguês. Parece que as mulheres apenas são recordadas pela lente dos estereótipos dominantes, ou como meras namoradas, acompanhantes e atores sociais submissos em espaço público. Para combater esse esquecimento propomos, primeiro, um estado da arte que cruze género e estudos juvenis, depois uma curta apresentação do estado da participa
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Dissertations / Theses on the topic "Muslim youth Punk rock music"

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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.<br>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
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Takasugi, Fumiko. "Romantic, do-it-yourself, and sexually subversive an analysis of resistance in a Hawaiʻi local punk rock scene /". Thesis, 2004. http://proquest.umi.com/pqdweb?index=0&did=775161261&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1235090046&clientId=23440.

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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 Afrikaans<br>Die 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 lew
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Books on the topic "Muslim youth Punk rock music"

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Sells like teen spirit: Music, youth culture, and social crisis. New York University Press, 2009.

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Moore, Ryan. Sells like teen spirit: Music, youth culture, and social crisis. New York University Press, 2010.

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Diaz, Martha, Anthony J. Nocella, Scott Robertson, and Priya Parmar. Rebel music: Resistance through hip hop and punk. Information Age Publishing, 2015.

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Movimento punk na cidade: A invasão dos bandos sub. J. Zahar Editor, 1985.

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No Future nu: Punk in Nederland 1977-2012. Lebowski Publishers, 2012.

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Muzyczna i piśmiennicza twórczość antychrześcijańska w polskiej kulturze punk i jej krytyka. Oficyna Wydawnicza ATUT, 2011.

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Pedersen, Steen W. Jugendkultur. Danmarks radio, Undervisningsafd., 1987.

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Friedman, Glen E. Fuck you heroes: Glen E. Friedman photographs, 1976-1991, with annotated index. Burning Flags Press, 1997.

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Fuck you heroes: Glen E. Friedman photographs, 1976-1991, with annotated index. Burning Flags Press, 1994.

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Santiago, Pablo Gaytán. Desmadernos: Crónica suburpunk de algunos movimientos culturales en la submetrópoli defeña. Universidad Autónoma del Estado de México, 2001.

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Book chapters on the topic "Muslim youth Punk rock music"

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Jagodzinski, Jan. "The “Grunge” of Punk-Rock: Slacking Off." In Music in Youth Culture. Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9780230601390_8.

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Pike, Sarah M. "“Liberation’s Crusade Has Begun”." In For the Wild. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294950.003.0006.

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Chapter Five explores the interweaving of music, Hindu religious beliefs, and activism motivated by rage in the context of hardcore punk rock. In this chapter, I describe the unlikely convergence of hardcore punk rock, Krishna Consciousness, and animal rights in youth subcultural spaces in order to understand how the aural and spiritual worlds created by some bands shaped the emergence of radical animal rights. At times these music scenes nurtured the idea of other species as sacred beings and sparked outrage at their use and abuse by humans. Bands made fans into activists who brought the intensity of hardcore to direct actions in forests, at animal testing labs and mink farms, and against hunting and factory farming.
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Kane, Daniel. "The Fugs Are Coming." In "Do You Have a Band?". Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231162975.003.0002.

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The Fugs’ music drew on writers as diverse as Blake, Swinburne, Auden and Ginsberg, creating entirely new forms of reception for texts that had traditionally been consigned to the page. And yet, most histories of 1960s countercultural music tend to elide the Fugs both as punk precursors and as riotous cultural critics who reconciled nineteenth and twentieth century poetry with rock ‘n’ roll before Lou Reed, Patti Smith or Richard Hell’s own invocations of bardic authority. This chapter traces how the Fugs’s “low fi noisy shit about poetry sex and drugs” reveals them to be the first rock band to show how poetry and rock could work together to promote a visibly confrontational and noisy youth-oriented sensibility.
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Worley, Matthew. "Comrades in bondage trousers: how the Communist Party of Great Britain discovered punk rock." In Labour and Working-Class Lives. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784995270.003.0012.

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Matthew Worley’s essay on the Communist Party of Great Britain offers a fascinating insight into how the CPGB and the Young Communist League sought to engage with Punk at a time when the Party was losing membership rapidly in the decade or so before the collapse of communism in Eastern Europe and the Soviet Union. Stimulated by the writings of Martin Jacques, and other prominent members of the Party, the attempt to embrace the anti-commercial music establishment of the emerging youth culture in the 1970s led to serious debate within the CPGB between those still committed to mass class conflict based upon industrial struggle as a basis of political consciousness (economism) and those who sought to enact the ‘cultural turn’, by embracing gender and race as well as class. The CPGB failed in its efforts, and was rather less successful than the Socialist Worker’s Party with its ‘Rock against Racism’ campaign, but at least there was a vibrancy of campaigning within a declining organisation which did leave an impact upon subsequent interpretations of punk rock and youth culture..
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"Taqwacore: An Introduction to Muslim American Punk Rock." In Music Sociology. Routledge, 2015. http://dx.doi.org/10.4324/9781315633374-28.

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