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

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

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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2

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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Đorđević, Ana. "“The soundtrack of their lives”: The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 25. http://dx.doi.org/10.25038/am.v0i17.267.

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Crno-bijeli svijet [Black-White World, HRT, 2015–] is an on-going Croatian television series set in the early 1980s depicting the then-current pop music scene in Zagreb. The storyline follows several characters whose lives are intertwined by complex family relations, while also following the beginnings of new wave/punk rock bands and artists, and their influence on the Yugoslav youth who almost religiously listened to their music, like some of the series’ characters do.The role of music in television series is a complicated question that caught the attention of film music scholars in recent ye

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Wrzochul-Stawinoga, Justyna. "Obraz współczesnego społeczeństwa w utworach muzycznych Doroty Masłowskiej – Mister D." Kultura-Społeczeństwo-Edukacja 13, no. 1 (2018): 254–73. http://dx.doi.org/10.14746/kse.2018.13.19.

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Changes resulting from the development of the Internet have a significant impact on the shape of popular culture. Music, particularly the message that it conveys, constitutes an important element of culture. Music, which is a part of a wider cultural context, has a significant influence on the shaping of the world view of contemporary people and serves as an important element of its description. According to Jacek Bernasiewicz, music often becomes the building block of the young generation. “It is primarily about music, and particularly its content, that always served as a generational bond an

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Jeziński, Marek, and Łukasz Wojtkowski. "To Grunge or Not to Grunge on the Periphery? The Polish Grunge Scene of the 1990s and the Assimilation of Cultural Patterns." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1479.

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Introduction – Polish GrungeThe main objective of this article is to examine the grunge scene of the 1990s in Poland in the context of acculturation and assimilation processes. Polish grunge was, on the one hand, the expression of trends that were observable in music industry since the late 1980s. On the other hand, it was symptomatic of a rapid systemic transformation. Youth culture was open for the diffusion of cultural patterns and was ready to adopt certain patterns from the West.Thus, we suggest that the local grunge scene was completely modelled on the American one: the flow of cultural

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Stafford, Paul Edgerton. "The Grunge Effect: Music, Fashion, and the Media During the Rise of Grunge Culture In the Early 1990s." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1471.

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IntroductionThe death of Chris Cornell in the spring of 2017 shook me. As the lead singer of Soundgarden and a pioneer of early 1990s grunge music, his voice revealed an unbridled pain and joy backed up by the raw, guitar-driven rock emanating from the Seattle, Washington music scene. I remember thinking, there’s only one left, referring to Eddie Vedder, lead singer for Pearl Jam, and lone survivor of the four seminal grunge bands that rose to fame in the early 1990s whose lead singers passed away much too soon. Alice in Chains singer Layne Staley died in 2002 at the age of 35, and Nirvana fro

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Brabazon, Tara, and Stephen Mallinder. "Off World Sounds: Building a Collaborative Soundscape." M/C Journal 9, no. 2 (2006). http://dx.doi.org/10.5204/mcj.2617.

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There are many ways to construct, shape and frame a history of popular music. From a focus on performers to a stress on cities, from theories of modernity to reveling in ‘the post,’ innovative music has been matched by evocative writing about it. One arc of analysis in popular music studies focuses on the record label. Much has been written about Sun, Motown, Factory and Apple, but there are many labels that have not reached this level of notoriety and fame but offer much to our contemporary understanding of music, identity and capitalism. The aim of this article is to capture an underwritten

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Williams, Patrick, and Erik Hannerz. "Articulating the "Counter" in Subculture Studies." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.912.

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Introduction As street protests and clashes between citizens and authorities in places as different as Ferguson, Missouri and Hong Kong in autumn 2014 demonstrate, everyday life in many parts of the world is characterised by conflicting and competing sets of cultural norms, values, and practices. The idea that groups create cultures that stand in contrast to “mainstream” or “dominant culture” is nothing new—sociology’s earliest scholars sought cultural explanations for social “dysfunctions” such as anomie and deviance. Yet our interest in this article is not about the problems that marginalise

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17

Ware, Ianto. "Andrew Keen Vs the Emos: Youth, Publishing, and Transliteracy." M/C Journal 11, no. 4 (2008). http://dx.doi.org/10.5204/mcj.41.

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This article is a comparison of two remarkably different takes on a single subject, namely the shifting meaning of the word ‘publishing’ brought about by the changes in literacy habits related to Web 2.0. One the one hand, we have Andrew Keen’s much lambasted 2007 book The Cult of the Amateur, which is essentially an attempt to defend traditional gatekeeper models of cultural production by denigrating online, user-generated content. The second is Spin journalist Andy Greenwald’s Nothing Feels Good, focusing on the Emo subculture of the early 2000s and its reliance on Web 2.0 as an integral med

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18

Phillipov, Michelle. "“Just Emotional People”? Emo Culture and the Anxieties of Disclosure." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.181.

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In an article in the Sunday Tasmanian shortly after the deaths of Melbourne teenagers Jodie Gater and Stephanie Gestier in 2007, Tasmanian Catholic Schools Parents and Friends Federation president Bill Button claimed: “Parents are concerned because all of a sudden their child, if they have access to a computer, can turn into an Emo” (qtd. in Vowles 1).For a few months in 2007, the dangers of emo and computer use were significant themes in Australian newspaper coverage. Emo, an abbreviation of the terms “emocore” or “emotional hardcore”, is a melodic subgenre of punk rock music, characterised b

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19

Nicholas, Lucy. "“What fucked version of hello kitty are you?”." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2196.

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“Power often comes in deceptive packages” (Myers, 2002) Hello Kitty is the ultimate icon of Japanese cuteness. She/it is simply the image of a cat with black eyes, a button nose and no mouth wearing a pink bow on her head. A product without context, Hello Kitty is a blank signifier with the potential to be loaded with codes and meanings as diverse as the ideas of those who consume her/it. Yet Hello Kitty encompasses, and holds contradictory associations with, discourses as diverse as debates over reappropriation of symbols, consumerism and nationalism. As a symbol of cuteness, with her inabili

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20

Wark, McKenzie. "Toywars." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2179.

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I first came across etoy in Linz, Austria in 1995. They turned up at Ars Electronica with their shaved heads, in their matching orange bomber jackets. They were not invited. The next year they would not have to crash the party. In 1996 they were awarded Arts Electronica’s prestigious Golden Nica for web art, and were on their way to fame and bitterness – the just rewards for their art of self-regard. As founding member Agent.ZAI says: “All of us were extremely greedy – for excitement, for drugs, for success.” (Wishart & Boschler: 16) The etoy story starts on the fringes of the squatters’ m

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Humphreys, Lee, and Thomas Barker. "Modernity and the Mobile Phone." M/C Journal 10, no. 1 (2007). http://dx.doi.org/10.5204/mcj.2602.

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   Introduction As the country with the fifth largest population in the world, Indonesia is a massive potential market for mobile technology adoption and development. Despite an annual per capita income of only $1,280 USD (World Bank), there are 63 million mobile phone users in Indonesia (Suhartono, sec. 1.7) and it is predicted to reach 80 million in 2007 (Jakarta Post 1). Mobile phones are not only a symbol of Indonesian modernity (Barendregt 5), but like other communication technology can become a platform through which to explore socio-political issues (Winner 28). In thi

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