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Relevant bibliographies by topics / Punk culture. Punk rock music. Alternative rock music

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Journal articles

Academic literature on the topic 'Punk culture. Punk rock music. Alternative rock music'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Punk culture. Punk rock music. Alternative rock music"

1

Hogg, Christopher. "The Punk-Rock King: Musical Anachronism in Period Film." Media International Australia 148, no. 1 (2013): 84–93. http://dx.doi.org/10.1177/1329878x1314800110.

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Music has a powerful indexical ability to evoke particular times and places. Such an ability has been exploited at length by the often-elaborate soundscapes of period films, which regularly utilise incidental scores and featured period songs to help root their narrative action in past times, and to immerse their audiences in the sensibilities of a different age. However, this article will begin to examine the ways in which period film soundtracks can also be used to complicate a narrative sense of time and place through the use of ‘musical anachronism’: music conspicuously ‘out of time’ with t

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2

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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3

Karpowicz, Agnieszka. "Azbest Punk." Kultura Popularna 3, no. 53 (2018): 11–20. http://dx.doi.org/10.5604/01.3001.0010.8262.

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The article analyses the lyrics of Polish punk rock songs showing their relationship with urban culture. By considering punk culture as an urban culture it interprets an impact of architecture and its materiality on the character of music and texts.

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4

Double, Oliver. "Punk Rock as Popular Theatre." New Theatre Quarterly 23, no. 1 (2007): 35–48. http://dx.doi.org/10.1017/s0266464x06000613.

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Punk rock performance consciously draws on popular theatre forms such as music hall and stand-up comedy – as was exemplified on the occasion when Max Wall appeared with Ian Dury at the Hammersmith Odeon. Oliver Double traces the historical and stylistic connections between punk, music hall and stand-up, and argues that punk shows can be considered a form of popular theatre in their own right. He examines a wide range of punk bands and performers – including The Sex Pistols, Iggy Pop, Devo, Spizz, The Ramones, The Clash, and Dead Kennedys – to consider how they use costume, staging, personae, c

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5

Świeściak, Alina. "Kamila Janiak i punk." Poznańskie Studia Polonistyczne. Seria Literacka, no. 33 (October 26, 2018): 153–70. http://dx.doi.org/10.14746/pspsl.2018.33.9.

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The author presents poetry by Kamila Janiak in the context of avant-guard pop-culture. She deals mainly with punk and cyber-punk motifs of this poetry, which alow to understand them as a feminist, post-human and anty-capitalist project. She shows how Janiak for her purposes uses d.tournements: she takes on the one hand principles, which rule in the “controlled societies” and on the other hand pop-culture aesthetics and psychodelic rock music.

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6

Martinez, Amanda Marie. "Suburban Cowboy." California History 98, no. 1 (2021): 83–97. http://dx.doi.org/10.1525/ch.2021.98.1.83.

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This essay analyzes the political and cultural significance of confrontations between country music fans and punk rockers in the suburban community of Costa Mesa, California, in the early 1980s. During this time, Orange County was defined by paradox. On one hand, the region proved historically influential to leading conservative politics and the rise of Ronald Reagan, and bore a legacy of a country music and cowboy culture that well complemented such conservatism. And yet, the area also served as the breeding ground where right-wing politics and suburbanism’s sonic resistance, hardcore punk ro

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7

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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8

Davis, John R. "I want something new: Limp Records and the birth of DC punk, 1976‐80." Punk & Post Punk 9, no. 2 (2020): 177–204. http://dx.doi.org/10.1386/punk_00030_1.

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Recountings of the Washington, DC punk rock scene’s history often start with the founding of Dischord Records in 1980 and focus on the subsequent ascent of Dischord co-owner Ian MacKaye’s bands like Minor Threat and Fugazi. As seminal as Dischord remains in the narrative of DC punk ‐ a community still thriving today ‐ the years just prior to the label’s founding generated the scene’s true incunabula. Beginning with the self-released debut EP from the Slickee Boys in 1976, this first wave of DC bands ‐ also including Razz, Nurses, White Boy and others ‐ combined elements of art rock, surf, prot

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9

Hesmondhalgh, David. "Post-Punk's attempt to democratise the music industry: the success and failure of Rough Trade." Popular Music 16, no. 3 (1997): 255–74. http://dx.doi.org/10.1017/s0261143000008400.

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Punk's widely accepted status as a watershed in British music-making has produced some fine academic and journalistic studies. Greil Marcus has devoted much of the last twenty years to an assessment of the legacy of punk rock (Marcus 1989, 1993). Dave Laing's One Chord Wonders provides a multi-layered approach which might serve as a model for any analysis of a particular musical–cultural moment (Laing 1985). The most detailed and thorough account is Jon Savage's England's Dreaming (1991), a paean to the mischievous self-consciousness of punk and a sly put-down of its earnest political wing. Ye

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10

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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