Academic literature on the topic 'Social aspects of Punk rock music'
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Journal articles on the topic "Social aspects of Punk rock music"
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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 years. The significance – and, at the same time, the complexity – that music produces or can produce, as the bearer of cultural, social and/or political meanings in television series brings its own set of difficulties in setting out possible frameworks of research. In the case of Crno-bijeli svijet that is even more challenging considering that it revolves around popular music that is actively involved in, not just the series soundtrack, but several aspects of different narrative elements.Jon Burlingame calls the music of American television “The soundtrack of our lives”, and I find this quote is appropriate for this occasion as well. The quote summarizes and expresses the creators’ personal note that is evident in the use of music in this television series and myriad ways music is connected to other narrative and extra-narrative elements, and in a way, grasps the complicity of the problem I will address. Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper How to cite this article: Đorđević, Ana. “'The soundtrack of their lives': The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies 17 (2018): 25−36. doi: 10.25038/am.v0i17.267
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GUERRA, PAULA. "UM LUGAR SEM LUGAR... NO ROCK PORTUGUÊS." Outros Tempos: Pesquisa em Foco - História 17, no. 29 (February 12, 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 participação feminina no rock português, para depois nos centrarmos na questão central do artigo: a história de vida de Xana, vocalista dos RádioMacau. Uma trajetória paradigmática não só de uma músicaportuguesa, mas de toda a construção da feminilidade no mundo das artes e da cultura na história recente de Portugal. Palavras-chave: Portugal.Rock.Dominação Masculina. Género. Xana. Rádio Macau. A PLACE WITH NO PLACE... IN PORTUGUESE ROCK Abstract: In this article we analyze the reasons for female invisibility in Portuguese rock as a central aspect in the construction of the femininity of the Portuguesecontemporaneity. Elsewhere we showed the existence of a consistent male domination in Portuguese rockscene.It seems that the women are barely remembered through the dominant stereotypeslenses, such as mere lovers, companions and submissive social actressesin public space. To combat this invisibility, we propose, first, a state of the art about gender and youth studies, then a brief presentation of the state of female participation in Portuguese rock, and then the central issue of the article: the life historyof Xana, vocalist of Radio Macau.A paradigmatic trajectory not only of Portuguese music, but of the entire construction of femininity in the world of arts and culture in recent Portuguese history. Keywords: Portugal. Rock. Male Domination. Gender. Xana. Radio Macau. UN LUGAR SIN LUGAR ... EN EL ROCK PORTUGUÉS Resumen: En este artículo analizaremos las razones de la invisibilidad femenina en el punk portugués. En otras partes4demostramos la existencia de una profunda misoginia en las letras punk portuguesas.Parece que las mujeres solo son recordadasa través de la lente de los estereotipos dominantes, o como meras novias, chaperonas y actores sociales sumisos en el espacio público. Para combatir este olvido, proponemos, primero, un estado del arte que cruza los estudios de género y juventud, luego una breve presentación del estado de la participación femenina en el rockportugués, y luego nos centramos en el tema central del artículo: la historia de vida de Xana, la vocalista de Rádio Macau.Una trayectoria paradigmática no solo de la música portuguesa, sino de toda la construcción de la feminidad en el mundo de las artes y la cultura en la historia portuguesa reciente.Palabras clave: Portugal. Rock. Dominación Masculina.Gender.Xana.Rádio Macau.
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Moore, Ryan, and Michael Roberts. "Do-It-Yourself Mobilization: Punk and Social Movements." Mobilization: An International Quarterly 14, no. 3 (September 1, 2009): 273–91. http://dx.doi.org/10.17813/maiq.14.3.01742p4221851w11.
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The intersection between music and social movements is a fertile area of research. We present three case studies taken from punk-the Rock Against Racism campaign in Britain during the late 1970s, the American hardcore scene of the 1980s, and the riot grrrl feminism of the early 1990s-as instances where music and subculture have not simply figured as symbolic forms of resistance and identity formation but also as a means of organizing protest, raising consciousness, and creating change. The central mechanism that has allowed punk subcultures to achieve high levels of mobilization has been the do-it-yourself ethic, which demands that punks take matters of cultural production into their own hands by making music, fanzines, and record labels, creating a network of venues for live music performance, as well as creating other forms of micromedia that are commercially independent of the corporate culture industry. We use these case studies to both draw attention to neglected areas of empirical research and as a means to intervene in theoretical debates that have tended to polarize social movement studies between paradigms that emphasize structural phenomena and those that emphasize cultural factors.
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Widjayanti, Ellita Permata, Tarascania Audina, and Andrian Santosa. "The Ambiguity of Punk Women ‘Masculinity’ in Kuehnert’s I Wanna Be Your Joey Ramone and Castellucci’s Beige Novel." Ethical Lingua: Journal of Language Teaching and Literature 7, no. 1 (March 26, 2020): 136–48. http://dx.doi.org/10.30605/25409190.158.
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Punk constitutes a subculture that is perceived as an androgyny community in which there is no clear difference between men and women. However, this androgyny matter is questioned by the sexism that occurred through hegemonic masculinity. This study aims to see how the femininity of punk women intertwined with the hegemonic masculinity and to see the resistance to the hegemony in Kuehnert's I Want to Be Your Joey Ramone and Castellucci's Beige novel. The method used is descriptive analysis with the theory of hegemony masculinity. The results of this study indicate that hegemonic masculinity in punk is constructed through social structure and rock music. The resistance of women gets a rejection from both punk men and women themselves. The masculinity of punk women then raises the ambiguity of their position and role in the community.
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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 Ljubljana punk rock bands are also presented, pointing to the attitudes of the punk youth towards their social environment and political situation and revealing how they came to be seen as a threat to the socialist order. In the conclusion, the sociopolitical legacy of punk and certain controversies surrounding it are shortly touched upon.
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Lopez, Tara. "Wild Strategies: Women and Music Research." AMP: American Music Perspectives 1, no. 2 (December 1, 2020): 182–91. http://dx.doi.org/10.5325/ampamermusipers.1.2.0182.
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ABSTRACT In the twenty-first century, women continue to be marginalized in music and music communities. Lopez explores these issues via the lens of her current research on El Paso punk rock. She not only highlights the obstacles in documenting women’s experience in music, but she develops a track list of relevant songs and a manifesto to remind researchers of ways to illuminate the multitude of roles women play in music. Lopez concludes that seeking out and documenting women’s voices is not merely a useful practice, but it is essential to fueling social change.
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Rush, Kayla. "Riot grrrls and shredder bros: Punk ethics, social justice and (un)popular popular music at School of Rock." Journal of Popular Music Education 00, no. 00 (September 14, 2021): 1–21. http://dx.doi.org/10.1386/jpme_00054_1.
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This article presents a case study of riot grrrl music in a School of Rock franchise in the Midwestern United States. It presents the school as a place in which gender is bound up in specific notions of what it is to play rock music, notions that directly inform what constitutes popular popular music within this context. The article examines the Riot Grrrl project using frame analysis, presenting and discussing three frames through which riot grrrl was taught: as music, punk ethics and social justice. It examines a case of frame conflict as played out in a disagreement between the programme’s two male instructors. It suggests that multi-frame approaches to popular music teaching, including clashes that may arise from conflicting frames, are effective in disrupting the musical-cultural status quo and in creating spaces in which students may productively and empathetically encounter the unpopular popular music of marginalized musical ‘Others’.
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O’Shea, Susan. "Activate, collaborate, participate: The network revolutions of riot grrrl-affiliated music worlds." Punk & Post Punk 9, no. 2 (June 1, 2020): 309–25. http://dx.doi.org/10.1386/punk_00043_1.
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Social networks act as a metaphor for discussion about many historical and contemporary music worlds. Much of the literature on feminist music movements like riot grrrl, ladyfest and Girls Rock camps conceptualize collective action and participation in network terms. However, in doing so, the approach is almost exclusively qualitative. Individuals tie movements, collectives and organizations together and help their cultural spread across cities and countries. Yet individuals can also cause ruptures in networks that may lead to their collapse or fracturing. This article uses mixed-methods social network analysis (SNA) to unpack the structure, development and impact of a riot grrrl-associated music network across geographical space and time. By investigating the strong ties of shared band membership and playing together, the centrality of key bands and musicians across overlapping music movements associated with riot grrrl are explored at micro, meso and macro levels of network interaction. The ability to visualize music collaboration networks allows us to see patterns and connections that may not have been previously apparent. Whilst there is a small but growing body of work on punk using SNA methods, these have overwhelmingly been male dominated. This is the first formal network application on punk-inspired feminist music worlds that redresses the gender imbalance.
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Street, John, Matthew Worley, and David Wilkinson. "‘Does it threaten the status quo?’ Elite responses to British punk, 1976–1978." Popular Music 37, no. 2 (April 13, 2018): 271–89. http://dx.doi.org/10.1017/s026114301800003x.
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AbstractThe emergence of punk in Britain (1976–1978) is recalled and documented as a moment of rebellion, one in which youth culture was seen to challenge accepted values and forms of behaviour, and to set in motion a new kind of cultural politics. In this article we do two things. First, we ask how far punk's challenge extended. Did it penetrate those political, cultural and social elites against which it set itself? And second, we reflect on the problem of recovering the history and politics of moments such as punk, and on the value of archives to such exercises in recuperation. In pursuit of both tasks, we make use of a wide range of historical sources, relying on these rather than on retrospective oral or autobiographical accounts. We set our findings against the narratives offered by both subcultural and mainstream histories of punk. We show how punk's impact on elites can be detected in the rhetoric of the popular media, and in aspects of the practice of local government and the police. Its impact on other elites (e.g. central government or the monarchy) is much harder to discern. These insights are important both for enriching our understanding of the political significance of punk and for how we approach the historical record left by popular music.
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Johinke, Rebecca. "Take a walk on the wild side: Punk music walking tours in New York City." Tourist Studies 18, no. 3 (May 10, 2018): 315–31. http://dx.doi.org/10.1177/1468797618771694.
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Walking tours on the streets of cities like New York offer music fans the opportunity to tread in the footsteps of their punk rock idols. Music lovers seek a tourist experience that constructs intra- and inter-personal authenticity as a ‘true fan’ as they seek to see for themselves where their idols lived, worked, recorded, and performed in New York City. Music walking tours are situated as a form of embodied music tourism or psychogeographic practice as they connect fans with the soundscape and the cityscape. When fans document their walking experience, they contribute to a history of music culture and to the practice of music tourism as an embodied social practice. This article engages with popular media through tourism and tells the story of one of many cultural communities with a special tie to the Lower East Side.
Dissertations / Theses on the topic "Social aspects of Punk rock music"
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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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Berkland, Darren Gary. "Androcentrism and misogyny in late twentieth century rock music." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1021199.
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Judith Butler’s writings on gender ostensibly changed the way gender is considered with regard to an individual’s subjectivity. Her writings expressed a discursive parameter that changed the theoretical standpoint of gender from that of performance, to that of performativity. In short, the notion of gender became understood as a power mechanism operating within society that compels individuals along the heteronormal binary tracts of male or female, man or woman. Within the strata of popular culture, this binarism is seemingly ritualized and repeated, incessantly. This treatise examines how rock music, as a popular and widespread mode of popular music, exemplifies gender binarism through a notable ndrocentrism. The research will examine how gender performativity operates within the taxonomy of rock music, and how the message communicated by rock music becomes translated into a listener’s subjectivity.
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Stahl, Geoff. "Troubling below : rethinking subcultural theory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ43954.pdf.
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Novillo, Perez Cecilio Jose, and Perez Cecilio Jose Novillo. "La Movida Madrileña and the Rock Radical Vasco as Political and Social Agents in Post-Franco Spain: Their influence on Popular Musical Practices of 21st-Century Spain." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626715.
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In Spain, the era of political transition to democracy known as La Transición during the 1970s and 1980s led to changes in Spanish popular music (i.e., pop, rock, punk) which became the musical representation of the new democracy’s social and political changes. Two different musical movements of that period, La Movida Madrileña and Rock Radical Vasco, established boundaries between official mainstream music and its musical counterculture counterpart, underground, and subversive musical practices within Spanish democracy. This thesis examines the nature of those musical practices, their song lyrics, and their social and political interpretations, including their influence on current musical practices.
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Thompson, Pamela J. "Rock and roll and the counterculture : the search for alternative values and a new spirituality." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59237.
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Both the counterculture and its music will be examined using the concepts of heteronomy, autonomy, and theonomy and their dialectical relationship according to Paul Tillich's theory of religion and culture. The main themes beneath the emergence of the counterculture will be outlined, and the ways in which the dominant culture of the time may be considered what Tillich describes as a heteronomous phenomenon will be presented. The historical significance of the counterculture will then be demonstrated in terms of Tillich's concept of kairos. Through examination of the lyrics of some of the most popular songs between 1965 and 1970, the years during which the movement was at its height, the ways in which the counterculture may be seen as autonomous protest will be discussed. This will be followed by an examination of theonomous elements apparent in the song lyrics and an evaluation of the movement in terms of the Tillichian dialectic.
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Ball, Rebecca Elizabeth. "Portland's Independent Music Scene: The Formation of Community Identities and Alternative Urban Cultural Landscapes." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/126.
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Portland has a rich, active, and fluid music culture which is constantly being (re)created and (re)defined by a loose network of local musicians who write, record, produce, promote, distribute, and perform their music locally (and sometimes regionally, nationally, and internationally) and local residents, or audiences, who engage in local musical practices. Independent ("indie") local music making in Portland, which is embedded in DIY (do it yourself) values, creates alternative cultural places and landscapes in the city and is one medium through which some people represent themselves in the community. These residents not only perform, consume, promote, and distribute local music, they also (re)create places to host musical expressions. They have built alternative and democratic cultural landscapes, or culturescapes, in the city. Involved Portlanders strive to make live music performances accessible and affordable to all people, demonstrating through musical practices that the city is a shared space and represents a diversity of people, thoughts, values, and cultural preferences. Using theoretical tools from critical research about the economic, spatial, and social role of cultures in cities, particularly music, and ethnographic research of the Portland music scene, including participant observations and in-depth interviews with Portland musicians and other involved residents, this research takes a critical approach to examining ways in which manifestations of independent music are democratic cultural experiences that influence the city's cultural identity and are a medium through which a loosely defined group of Portlanders represent their cultural values and right to the city. In particular, it focuses on how local musical practices, especially live performances, (re)create alternative spaces within the city for musical expressions and influence the city's cultural landscapes, as well as differences between DIY independent music in Portland and its commodified forms and musicians and products produced by global music industry.
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Shadrack, Jasmine Hazel. "Denigrata cervorum : interpretive performance autoethnography and female black metal performance." Thesis, University of Northampton, 2017. http://nectar.northampton.ac.uk/9679/.
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I am concerned with the performance of subversive ... narratives ... the performance of possibilities aims to create ... a ... space where unjust systems and processes are identified and interrogated. (Madison 280). If a woman cannot feel comfortable in her own body, she has no home. (Winterson, J; The Guardian 29.03.2013). Black metal is beyond music. It exceeds its function of musical genre. It radiates with its sepulchral fire on every side of culture [...] Black metal is the suffering body that illustrates, in the same spring, all the human darkness as much as its vital impetus. (Lesourd 41-42). Representation matters. Growing up there were only two women in famous metal bands that I would have considered role models; Jo Bench from Bolt Thrower (UK) and Sean Ysseult from White Zombie (US). This lack or under-representation of women in metal was always obvious to me and has stayed with me as I have developed as a metal musician. Women fans that see women musicians on stage, creates a paradigm of connection; that representation means something. Judith Butler states ‘on the one hand, representation serves as the operative term within a political process that seeks to extend visibility and legitimacy to women as political subjects; on the other hand, representation is the normative function of language which is said either to reveal or distort what is assumed to be true about the category of women’ (1). Butler references de Beauvoir, Kristeva, Irigaray, Foucault and Wittig regarding the lack of category of women, that ‘woman does not have a sex’ (Irigaray qtd. in Butler 1) and that ‘strictly speaking, “women” cannot be said to exist’ (Kristeva qtd. in Butler 1). If this is to be understood in relation to my research, my embodied subjectivity as performative text, regardless of its reception suggests that my autoethnographic position acts as a counter to women’s lack of category. If there is a lack of category, then there is something important happening to ‘woman as subject’. This research seeks to analyse ‘woman as subject’ in female black metal performance by using interpretive performance autoethnography and psychoanalysis. As the guitarist and front woman with the black metal band Denigrata, my involvement has meant that the journey to find my home rests within the blackened heart of musical performance. Interpretive performance autoethnography provides the analytical frame that helps identify the ways in which patriarchal modes of address and engagement inform and frame ‘woman as subject’ in female black metal performance.
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Ballico, Christina. "Bury me deep in isolation: A cultural examination of a peripheral music industry and scene." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/682.
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Since 1998, Perth bands have had a strong presence within the Australian music scene. Primarily, each year between 1998 and 2009, songs by indie pop/rock acts from Perth have charted within national broadcaster triple j’s Hottest 100 countdown. Many of the albums from which these songs have been taken have sold in excess of 35,000 copies, and a number of successful and recognised Perth bands have toured with the nation’s largest music festival, the Big Day Out as well as their own high profile national tours. At the same time, Perth’s local indie pop/rock music industry has undergone tremendous growth and development, becoming more integrated into this nationally focused industry while also making significant inroads internationally. This research comprises 40 in-depth qualitative research interviews with 48 musicians and key industry players from Perth’s indie pop/rock music industry and scene. It presents a socio-culturally based examination to explore its evolution over the past decade. This is presented through an examination of the personal experiences of those involved in development of the local industry and who experienced, or witnessed an increase in success and recognition of Perth bands in national, and at times international, contexts. Broadly, this research explores the repercussions the shift in attitude toward Perth’s indie pop/rock music industry and scene as being worthy of national attention and recognition. In particular, it discusses the implications this has on the functioning of this industry as well as the careers of those within it. Further, this study examines what it means to be a musician and/ or music industry member in and from Perth along with the attitudes toward supporting local music product locally and its attempts to connect with audiences beyond the state. Within this, an examination of the influence of the city’s geographical isolation on the functioning of the local industry and on the ability for musicians to connect with audiences beyond the state is presented alongside an exploration of the role of social networks and the structure of the community of practice evident in this local industry. Additionally, the notions of creativity and creative process, core-periphery, and place and space are examined in relation to the functioning of this industry in business and creative contexts. Underwriting this is an examination of the shifts in the national and international music industries and associated music culture. These shifts all at once influenced the validity for Perth music to enter the national market and impacted upon the ongoing integration of this local industry within the national and international markets.
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Johnson, Alfred B. "Fascination machine : a study of pop music, mass mediation, and cultural iconography." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.
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The mediation of popular musicians in the twentieth century results in the construction of cultural formations-mass mediated pop musician icons-that are, to various degrees, weighted down by the ideologies and concerns of those who receive them as mediated texts. In passing judgment on these cultural icons, the public engages in a massive act of reading, and in the process the icons become sites of personal and cultural signification. This study examines the nature of signification in and through mass mediated popular music icons by exploring the processes by which popular music icons are produced, circulated, and read as texts; and it examines, when appropriate, the significant content of these icons.
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Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.
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Thesis (M.A.)--Indiana University, 2010.Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
Books on the topic "Social aspects of Punk rock music"
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Germán, Muñoz, ed. Secretos de mutantes: Música y creación en las culturas juveniles. Bogotá, D.C., Colombia: Universidad Central, Departamento de Investigaciones, 2002.
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Harris, Keith D. 'Music is my life'?: Discourse analysis and the interview talk of members of a music-based subculture. London: Goldsmiths College, University of London, 1997.
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Diaz, Martha, Anthony J. Nocella, Scott Robertson, and Priya Parmar. Rebel music: Resistance through hip hop and punk. Charlotte, NC: Information Age Publishing, 2015.
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Cinderella's big score: Women of the punk and indie underground. Emeryville, CA: Seal Press, 2005.
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Bischoff, Jean-Louis. Tribus musicales, spiritualité et fait religieux: Enquête sur les mouvances rock, punk, skinhead, gothique, hardcore, techno, hip-hop. Paris: Harmattan, 2007.
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Punks: A guide to an American subculture. Santa Barbara, Calif: Greenwood Press, 2010.
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Vries, Fred de. Club Risiko: De jaren tachtig, toen en nu. Amsterdam: Nijg & Van Ditmar, 2006.
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Anyone can do it: Empowerment, tradition and the punk underground. Burlington, VT: Ashgate, 2012.
Find full textBook chapters on the topic "Social aspects of Punk rock music"
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Margolies, Daniel S. "Reimagined Old-Time Music Cultures in the Trainhopping Punk Rock South." In Bohemian South. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631677.003.0013.
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This chapter presents the first consideration of a little known network of radical musicians which has coalesced in the last decade into a vibrant new subculture within the broader (but still obscure) “old time music” scene. Since the late 1990s, old time music has been adopted and repurposed via the language of liberation and autonomy with great seriousness and complete novelty by a fluid group of alternative minded DIY anarcho-punks, many of whom are originally from outside of the region. These young musicians have relocated from around the country to the contemporary South in search of deeply authentic old time forms of music, life, and economy standing in opposition to dominant capitalist consumer culture. These “trainhoppers” search for community and authenticity among alternative-minded people and construct a unique old time musical ecology embedded within related pursuits like radical environmental politics, squatting, off-the-grid homesteading, alternative fuel production, and other aspects of the radical quest for hand-crafted experience conceived of as oppositional to dominant, contemporary American consumer culture.
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Tranmer, Jeremy. "Rocking Against Racism." In Red Strains. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265390.003.0018.
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Rock Against Racism was one of the most dynamic and innovative British social movements of the 1970s, bringing together music fans and left-wing activists in the struggle against the far-right National Front. This surprising alliance was forged by members of the Trotskyist International Socialists/Socialist Workers Party who had a long-standing interest in popular culture and championed punk as a form of working-class revolt. This attitude contrasted sharply with that of the significantly larger Communist Party of Great Britain, which tended to view mass culture as a development of American capitalism. Seeking to adopt the dominant social and cultural norms of the labour movement, communists were unable to relate to the subversive irreverence of punk. Rock Against Racism disappeared in the very early 1980s but acted as a template for future attempts to link music and politics.
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López, Marissa K. "Coda." In Racial Immanence, 151–58. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479807727.003.0006.
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In her conclusion, the author asks what kind of ethical future we can hope for when so many bodies are threatened. What good does reading do anyone? Throughout Racial Immanence, the author argues for reading as an intra-action of body and text. Granting the immanence of race reconfigures the space and time of reading and writing; it posits both as world-making performances that reimagine the social. Reading, the author argues, is the most resistant, punk rock thing we can do, an argument she makes by historicizing punk as a mode of affective, anti-colonial resistance whose genesis she locates in the nineteenth-century diary of a Mexican soldier whose sentiment mirrors contemporary Chicanx punk music. These filiations embody the book’s argument by insisting on a materiality energized by a racial immanence that comes together in fleeting, performative moments of chicanidad.
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Niebur, Louis. "Disco’s Dead/Not Dead." In Menergy, 96–115. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197511077.003.0007.
Full textAbstract:
Triggered by the infamous “Disco Demolition” night at Comiskey Park in Chicago on July 12, 1979, at which a near riot accompanied the exploding of a crate of disco records, a backlash made the word “disco” a punchline overnight. Major labels dropped disco artists and producers, and mainstream musicians who had jumped on the bandwagon just as quickly threw themselves off. But in the gay enclaves of the Castro and elsewhere, people continued to dance. Dance music in gay clubs began incorporating aspects of rock, punk, and new wave into the music’s style while retaining the proud legacy of disco at its core. The “Disco Sucks” movement caused changes that were already occurring in dance music to accelerate, and in San Francisco, the arrival of DJs like Bobby Viteritti allowed for the evolution of the San Francisco sound, wholly electronic and more energetic than disco had ever been.