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Journal articles on the topic 'Social aspects of Punk rock music'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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Verbuč, DAVID. "Fans or Friends?" Lidé města 17, no. 2 (2015): 221–46. http://dx.doi.org/10.14712/12128112.3400.

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When studying how rock, punk, and similar cultures relate to place, scholars tend to focus on local scenes (and on concerts as constitutive events that establish the rock music community). When they do consider translocal connections, they mostly discuss non-face-to-face relations, for instance, as enacted through printed or electronic media. In this paper, by ethnographically examining the interpersonal dynamics of several case studies, I demonstrate that the music community of DIY (do-it-yourself) participants in the US is constituted in large part through face-to-face interaction, not only

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Bryan, Joseph D. "History in an Unfamiliar Key." History of the Present 14, no. 2 (2024): 245–73. http://dx.doi.org/10.1215/21599785-11247009.

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Abstract Since the turn of the century, historians have focused on the diverse representations of the past, recognizing that traditional spaces (e.g., museums, statuary, and public commemorations) no longer have a monopoly on the public dissemination of history. This article explores representations of the past from an unusual place: punk rock music and the Canadian band Propagandhi (1986–present). It asks: Can we read history through punk rock? If so, what do we learn? Punks’ treatment of the past should be integrated into how we evaluate public consumption of history. While Propagandhi does

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Moore, Ryan, and Michael Roberts. "Do-It-Yourself Mobilization: Punk and Social Movements." Mobilization: An International Quarterly 14, no. 3 (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 d

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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 (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

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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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Pradinda, Yulia, and Muhammad Fakhran Al Ramadhan. "SEMIOTIC ANALYSIS: MUSIC GENRES AND FASHION EXPRESSION AMONG ENGLISH LITERATURE STUDENTS AT UNIVERSITAS SUMATERA UTARA." DIALEKTIKA: JURNAL BAHASA, SASTRA DAN BUDAYA 11, no. 2 (2025): 236–50. https://doi.org/10.33541/dia.v11i2.6383.

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This study used Charles Sanders Peirce's semiotic theory to analyze the influence of music genre on the fashion expression of English Literature students at the University of North Sumatra. This research used a descriptive qualitative method. Data was obtained through structured interviews with three informants who have preferences in punk, alternative rock, and K-pop music genres. The results show that each music genre influences different fashion elements regarding colors, accessories, and clothing styles. The punk genre reflects the values of freedom and resistance through dark colors and d

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Lopez, Tara. "Wild Strategies: Women and Music Research." AMP: American Music Perspectives 1, no. 2 (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 (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

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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 (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 socia

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Parham, John. "Stranded Out of Place: Environmental Alienation in Australian Punk." Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ) 1 (October 24, 2011): 9–17. http://dx.doi.org/10.60162/swamphen.1.10584.

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Working within ‘environmental justice ecocriticism’, this paper explores and compares British and Australian punk and new wave arguing that the environment comprises one way in which a socially disadvantaged urban poor register an experience of injustice and alienation. The paper connects cultural studies of place/environment in popular music with ecocritical arguments that stress the centrality of place to identity and the importance of sound, oral cultures and music towards conveying that sense of place. Engaging with debates about ‘authenticity’, a concept being substantially re-appraised i

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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 (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 c

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Lahusen, Christian. "The aesthetic of radicalism: the relationship between punk and the patriotic nationalist movement of the Basque country." Popular Music 12, no. 3 (1993): 263–80. http://dx.doi.org/10.1017/s0261143000005717.

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Our time has come Tio/ I'm Basque and I'm proud/ That's enough Tio, say it loud/I'm Basque and I'm proud! (Negu Gorriak, 1989)The relationship between popular music and social movements does not in itself constitute an exceptional phenomenon. However, Basque Radical Rock (as Basque punk has come to be called) has emerged as a peculiar phenomenon of the history of political mobilisation in Euskadi (the Basque name for Basque country). This peculiarity is due to the fusion of an eminently anti-establishment music of anglo-saxon origin with a nationalist patriotic movement. The ‘alliance’ between

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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 (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 o

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Manuel, Peter. "Music as symbol, music as simulacrum: postmodern, pre-modern, and modern aesthetics in subcultural popular musics." Popular Music 14, no. 2 (1995): 227–39. http://dx.doi.org/10.1017/s0261143000007455.

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Postmodern aesthetics has come to be recognised as a salient feature of much popular culture, including music. Urban subcultures, and especially migrant subcultures, may have inherent inclinations toward postmodern aesthetics, while at the same time retaining ties to modern and even pre-modern cultural discourses. The syncretic popular musics created by such subcultures may reflect these multiple cultural orientations by combining postmodern and more traditional characteristics. Thus, for example, punk rock and rap music can be seen to combine postmodern techniques of pastiche, bricolage and b

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Cannady, Kimberly. "Rímur in the Nuclear Age: Sveinbjörn Beinteinsson and Icelandic Traditional Music." Ethnomusicology 67, no. 3 (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 Sveinbj

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Temperley, David. "Syncopation in rock: a perceptual perspective." Popular Music 18, no. 1 (1999): 19–40. http://dx.doi.org/10.1017/s0261143000008710.

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While study of the social and cultural aspects of popular music has been flourishing for some time, it is only in the last few years that serious efforts have been made to analyse the music itself: what Allan Moore has called ‘the primary text’ (1993, p. 1). These efforts include general studies of styles and genres (Moore, 1993; Bowman, 1995); studies of specific aspects of popular styles such as harmony and improvisation (Winkler 1978; Moore 1992, 1995; Walser 1992), as well as more intensive analyses of individual songs (Tagg 1982; Hawkins 1992). In this paper I will investigate syncopation

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Torre Pérez, Carmen. "“Los Frikis”." Journal of Popular Music Studies 35, no. 1 (2023): 85–108. http://dx.doi.org/10.1525/jpms.2023.35.1.85.

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This article examines the culturally complex context of the 1980s in Cuba through the little-known figure of the frikis, an underground culture linked to rock and metal music that flourished at a time of growing discontent with the country’s political regime. The revolutionary government marginalized frikis because of their interest in Anglo-American culture and because their social and aesthetic practices did not align with their vision of the ideal revolutionary citizen. Frikis were officially considered social parasites, hedonistic and indifferent in their attitude towards mainstream societ

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Kurapov, Anton, and Mykhailo Kandykin. "CONNECTION BETWEEN PERSONAL VALUES AND MUSIC PREFERENCES." Bulletin of Taras Shevchenko National University of Kyiv. Series “Psychology”, no. 2 (12) (2020): 52–56. http://dx.doi.org/10.17721/bsp.2020.2(12).9.

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This article describes the main correlations that were obtained between music preferences and personal values. It has been discovered that personal values play a significant role in people’s music preferences and they are at the forefront in proposing a map that links personal values to music preferences. According to the results, music preferences can be defined by personal values since people tend to listen to a specific type of music if corresponding values are projected such as conservatism and openness. In this case, music is broken into four preference dimensions which include reflective

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Tripathy, Manaswini, and Mithunchandra Chaudhari. "The Impact of Rock Music on Indian Young Adults: A Qualitative Study on Emotions and Moods." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 5361–74. http://dx.doi.org/10.47059/revistageintec.v11i4.2566.

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Music has proven to play a vital role in social and emotional development in teenagers and young adults. From contemplation, developing self-identity, understanding interpersonal relationships, and providing possibilities of experience mastery, agency, and self-control with the help of self-directed activities, music helps its audience develop in all aspects of life. In specific, Rock music, since its existence has been more than entertainment, artists expressed themselves and shared their opinions through their musical pieces. Infamous for promoting drugs and alcohol, Rock Music used its plat

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Bizhanova, Kenzhegul, Bakyt Arinova, Gulshat Akbayeva, and Aiym Massimbayeva. "Youth Identity Development on the Basis of Traditional Kazakh Folk Music." Folklore: Electronic Journal of Folklore 93 (August 2024): 79–104. http://dx.doi.org/10.7592/fejf2024.93.kazakh_youth.

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This study strived to determine the most popular music genre among young Kazakhs in the context of personal, social, and national identity development, specify the relationship between musical preferences and personality type, and disclose the level of influence of traditional Kazakh folk music on the identity of the Kazakh youth. The authors conducted a survey and a test by taking advantage of such research methods as sociological survey, statistical analysis, social phenomena cognition (assessment, analogy tracking, comparison), psychological and typological concepts of Jung, as well as Abul

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Tripathy, M., and M. Chaudhari. "The impact of rock music on Indian young adults: a qualitative study on emotions and moods." CARDIOMETRY, no. 20 (November 21, 2021): 111–19. http://dx.doi.org/10.18137/cardiometry.2021.20.110118.

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Music has proven to play a vital role in social and emotionaldevelopment in teenagers and young adults. From contemplation,developing self-identity, understanding interpersonalrelationships, and providing possibilities of experience mastery,agency, and self-control with the help of self-directed activities,music helps its audience develop in all aspects of life. In specific,Rock music, since its existence has been more than entertainment,artists expressed themselves and shared their opinionsthrough their musical pieces. Infamous for promoting drugsand alcohol, Rock Music used its platform to e

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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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Synieokyi, Oleg Vladimirovich. "Some reflections on the past, present and future of space rock music." SENTENTIA. European Journal of Humanities and Social Sciences, no. 3 (March 2021): 63–83. http://dx.doi.org/10.25136/1339-3057.2021.3.35872.

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The topic of space music requires a new scientific perspective. The goal of this article lies in examination of the historical and social peculiarities of the origin and development of space rock. The article presents futuristic interpretation of musicality of the celestial Universe. The article provides information about selected performers of this direction. Contextually, the article encompasses the stories of JULIAN'S TREATMENT and HAWKWIND. In reconstruction of the chronology for new interpretation, the author avoids repetitions and long descriptions of commonly known facts; aligns the key

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Lessu, Deasy Natalia. "A Critical Discourse Analysis." Koli Journal : English Language Education 1, no. 2 (2020): 91–103. http://dx.doi.org/10.30598/koli.1.2.91-103.

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The study is about Critical Discourse Analysis (CDA) which aimed to explore ideology in protest songs of Punk Rock music. The protest emerges due to dissatisfaction with any program or policy of the government or other organization. The musician sees these relevant parties as superior who have overused their power and ideology to control people and cause them suffered. Their music is a representation of their rejection of the condition and the system. Through their lyrics, they intent on raising peopleâ€™s awareness of the existing issue and persuading them to agree with their beliefs and to f

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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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Malm, Tobias. "The ambivalence of becoming a small business: Learning processes within an aspiring rock band." Popular Music 39, no. 3-4 (2020): 585–99. http://dx.doi.org/10.1017/s0261143020000471.

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The process of becoming a rock musician strongly relates to the organisational form of the band (Bennett 1980; Green 2002; Behr 2010). At all levels of ambition and success, membership of a band provides the musician with a natural entry point for performing to an audience and forging a potential career (Smith 2013a). The ‘micro-organisational’ (Bennett 2001) development of a band, therefore, is an important career prerequisite for rock musicians (Behr 2015). However, the social and practical challenges of musicianship seem to be continuously underemphasised within the field of popular music s

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Zmudzińska, Kamila, and Roman Matykowski. "Spatial and social aspects of the impact of Pol’and’Rock Festival and Jarocin Festival in Poland." Journal of Geography, Politics and Society 13, no. 2 (2023): 46–66. http://dx.doi.org/10.26881/jpgs.2023.2.05.

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Among the popular music festivals operating in Poland in the last forty years, two of them played a special role, especially for their young recipients of amplified music. The first of them was the Rock Festival in Jarocin (it had different names) functioning in the years 1980–1994, so still in the period of communist authorities. Reactivated in 2005, it recently operates under the name Jarocin Festival and uses the legend of the event from the 1980s. In the new socio-political conditions, the second important event, the Pol’and’Rock Festival (called Woodstock Station in 1995–2017), began to f

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Kohlhofer, Monika, Franziska Soos, Ingeborg Patsch, Susanne Gellweiler, and Mark Romanelli. "Metal Meets Green: A Multifaceted Exploration of Sustainability Perceptions at Heavy Metal Music Festivals." International Journal of Hospitality & Tourism Management 8, no. 2 (2024): 52–64. http://dx.doi.org/10.11648/j.ijhtm.20240802.14.

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The enduring presence of heavy metal music spanning multiple decades has generated a large global audience of devoted fans. Within Europe, renowned metal music festivals such as Wacken Open Air and Rock am Ring in Germany have solidified the genre&apos;s influence. Although scholarly research has explored metal music festivals and their attendees, there has been a noticeable gap in the examination of sustainability aspects within this domain. Consequently, this work undertakes a quantitative investigation into the social, environmental, and economic impacts within the context of metal musi

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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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Marino, Stefano. "Thirty Years of Pearl Jam (and Grunge Subculture), 1991–2021." Journal of Asia-Pacific Pop Culture 6, no. 2 (2021): 365–76. http://dx.doi.org/10.5325/jasiapacipopcult.6.2.0365.

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Abstract In this review article, I focus my attention on the so-called grunge subculture, originally derived from the musical style of the Seattle scene of the late 1980s and early 1990s, and in particular on the rock band Pearl Jam, sometimes emphatically defined as the “grunge survivors” and as the only major Seattle band to survive the ’90s intact. Pearl Jam—inducted into the Rock and Roll Hall of Fame in 2017, and committed in 2021 to celebrate the thirtieth anniversary of Ten, their legendary debut album, and also the twenty-fifth anniversary of No Code, their fourth, most experimental, a

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Krause, Amanda E., Simone Maurer, and Jane W. Davidson. "Characteristics of Self-reported Favorite Musical Experiences." Music & Science 3 (January 1, 2020): 205920432094132. http://dx.doi.org/10.1177/2059204320941320.

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Research supports the folk wisdom that individual preferences are tied to our experiences: we like what we know and as a result, we know what we like. Yet our understanding of the elements contained in lived examples of musical experiences that facilitate enjoyment and investment in music is little described. The current study recruited Australian residents ( N = 135) to complete an online survey, which asked them to describe their favorite musical experience with regard to its context and impact. The majority of favorite musical experiences involved listening to live music and performing. The

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Yakhno, Olena. "Vocal stylistics in rock music: dialectics of general and special." Aspects of Historical Musicology 21, no. 21 (2020): 279–92. http://dx.doi.org/10.34064/khnum2-21.18.

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The article aimed to identify the specific features of vocal style in rock music. This issue is considered in a complex way proceeding from the integral system of vocal intonation in its origins and evolution. It is noted that the vocal component in rock music is a synthesis of diverse origins, among which the primary and comprehensive is the song beginning, presented in all the diversity of its manifestations. Being assimilated into the forms of professional music-making, which include rock music and its historically closest source – jazz, the song component in rock music becomes the basis of

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Тангаева, Н. И. "Christian categories of vice and virtue, as illustrated in the song-opera TODD, authored by punk group Korol i Shut: literary aspects." Вестник Рязанского государственного университета имени С.А. Есенина, no. 2(79) (August 7, 2023): 149–65. http://dx.doi.org/10.37724/rsu.2023.79.2.015.

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В статье исследуется значение христианской аксиологии в понимании сюжета, образов и конфликта театральной рок-постановки TODD группы «Король и шут». Ввиду литературоведческой направленности работы внимание сосредоточено на тексте постановки, который относится к такому литературному жанру, как рок-поэзия. Рок-поэзия, создаваемая в рамках определенной культуры, подвергается влиянию национального менталитета и традиций, которые, в случае с русской культурой, являются в своей основе христианскими. В этой связи мы считаем актуальным и целесообразным обращение к изучению взаимодействия христианской

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Holt, Fabian. "Rock Clubs and Gentrification in New York City: The Case of the Bowery Presents." IASPM Journal 4, no. 1 (2013): 21–41. http://dx.doi.org/10.5429/584.

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This article offers a new analytical perspective on the relation between rock clubs and gentrification to illuminate broader changes in urbanism and cultural production in New York City. Although gentrification is central to understanding how the urban condition has changed since the 1960s, the long-term implications for popular music and its evolution within new urban populations and cultural industries have received relatively little scholarly attention. Gentrification has often been dismissed as an outside threat to music scenes. This article, in contrast, argues that gentrification needs t

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Pruitt, Cenate. "“Boys ‘Round Here”: Masculine Life-Course Narratives in Contemporary Country Music." Social Sciences 8, no. 6 (2019): 176. http://dx.doi.org/10.3390/socsci8060176.

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Country music remains one of the most popular genres in U.S. American society but is historically under-researched compared to rock, rap and other styles. This article extends the social science literature on the genre by examining themes of masculine identity in popular country hits of the current century. A content analysis of 35 top country hits from the last 15 years of the Billboard charts reveals three key masculine archetypes: the lover, the family man and particularly the country boy, which is the dominant masculine image within the last few years of the genre. Together, the three crea

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Dyukin, Sergey. "Rock-Culture as a Method of Entering into Post-Industrial Culture." Ideas and Ideals 12, no. 4-2 (2020): 394–411. http://dx.doi.org/10.17212/2075-0862-2020-12.4.2-394-411.

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Rock-music and rock-culture, which is formed on its basis, are methods of entering into culture of post-industrial society described by D. Bell, E. Toffler, F. Fukuyama and others. The correlation between rock-culture and post-industrial culture is established in the aspects of values, rules, practices and identities. In rock culture we can see the formation of the following values: creativity, initiative and individualism. Independence of creativity becomes an ethic imperative. It is more important than techniques and professionalism, which are characteristic of industrial culture. Exaggerate

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TAKALA, TUIJA, MATTI HÄYRY, and LAURENCE LAING. "Playing God." Cambridge Quarterly of Healthcare Ethics 23, no. 2 (2014): 188–99. http://dx.doi.org/10.1017/s0963180113000728.

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Abstract:This article describes and introduces a new innovative tool for bioethics education: a rock opera on the ethics of genetics written by two academics and a drummer legend. The origin of the idea, the characters and their development, and the themes and approaches as well as initial responses to the music and the show are described, and the various educational usages are explored.

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Hafiz, Muhammad Khairul, Syed Mohd Jeffri Syed Jaafar, and Mohd Anuar Mohd Ramli. "Pengaruh Budaya Popular Rave Dalam Kelompok Remaja Bandaran: Analisis Dari Perspektif Hukum Islam." Jurnal Fiqh 19, no. 2 (2022): 133–56. http://dx.doi.org/10.22452/fiqh.vol19no2.1.

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Rave culture’s emergence is similar to the Rock, Punk, Black Metal, Skinhead, and Gothic subcultures that once created a phenomenon in this country. The spread of this culture fulfils the desire for enjoyment among some social groupings. Rave is a new subculture of dance activities performed by groups of urban teenagers, particularly in Kuala Lumpur. It embodies the character of the youth group, as evidenced by its symbolism and mode of operation. Therefore, the focus of this qualitative study is an evaluation of Rave popular culture through the lens of Islamic law. To achieve its goal, this s

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Pratiwi, Nuning Indah, Putu Ratna Juwita Sari, Putu Suparna, and Dio Komang Ajisaka. "THE MEANING OF THE LYRICS OF THE SONG "YANG TERLUPAKAN" BY IWAN FALS IN THE SEMIOTICS OF FERDINAND DE SAUSSURE." Journal of Digital Media Communication 2, no. 2 (2023): 93–97. http://dx.doi.org/10.35760/dimedcom.2023.v2i2.10335.

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Music is a way to convey messages or communicate using sound to people in different ways. Through music, musicians want to convey messages, explain, entertain others, and use lyrics as a means for the writer to express what they want. Lyrics have a message in the form of words or sentences used to create particular imaginations or conditions in the listener. Songs are also often used as a place to sympathize with the reality of what is happening or imaginative stories. One of the most famous musicians in Indonesia is Iwan Fals. He is a singer and songwriter with pop, rock, country, and folk-po

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R, Harshika, and Shashi Nag. "The Influence of Music Genres on Fashion Styles; a Cross-Culture Analysis on Youngsters." International Journal for Research in Applied Science and Engineering Technology 12, no. 2 (2024): 386–92. http://dx.doi.org/10.22214/ijraset.2024.58337.

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Abstract: This study roots into the complex relationship between music and fashion, aiming to reveal the significant impact of music on the continually changing fashion industry. It has long been acknowledged that music, as a potent cultural force, can influence social conventions, feelings, and manifestations. In a similar vein, fashion conveys identity, culture, and inventiveness through its visual language. This research attempts to clarify the mutually beneficial link between these two artistic mediums by investigating the ways in which music both actively influences and reflects fashion t

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Arifin, Win Listyaningrum. "A Discourse Analysis on “Under the Same Sun” from Scorpions." Journal of Pragmatics Research 1, no. 1 (2019): 78–88. http://dx.doi.org/10.18326/jopr.v1i1.78-88.

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The song "Under the Same Sun" firstly released in 1993 is a song written by famous rock group music namely Scorpions. This group is coming from Hannover, Germany. Though renowned phenomenally as a music group with loud genre but this song is a ballad one because it really tells the story of real-life people in the war zone while citizens of the world just show a little caring concern. The song portraits a common view on the hopelessness of victimized people in war zone who need for sympathy and empathy. Otherwise, they get no positive response from other people who live in comfort. This paper

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Farr, Paddy. "I Don’t Wanna Die: Punk Rock Music and Culture as Critical Social Work Practice." Critical Social Work 24, no. 1 (2023). http://dx.doi.org/10.22329/csw.v24i1.7854.

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Punk is a music genre and counter-culture that has provided community and empowerment to generations of traumatized youth. This article is a case study on the use of punk rock counter-culture through the expression of music as a critical social work practice within a psychiatric outpatient clinic. The clinic, Lane County Behavioral Health, was founded during the deinstitutionalization era of psychiatric care for the treatment of “severe and persistent mental illness.” The article describes the formation of the group, the shared personal and cultural history of the therapist with group members,

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Cooley, Hannah Roth. "D.O.A.'s "General Strike" and the Politics of Punk Rock in Late Twentieth-Century British Columbia." USURJ: University of Saskatchewan Undergraduate Research Journal 2, no. 1 (2015). http://dx.doi.org/10.32396/usurj.v2i1.152.

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Within the realm of punk music, little attention has been paid the musical and cultural movement of political punk rock within the Canadian context. The Vancouver-based punk band D.O.A. has achieved recognition within the punk community both for their music, their political consciousness, and for their role in labour activism in the 1980s. Their 1983 song “General Strike” was written about, and produced as a benefit for, a group of leftists in British Columbia known as the Solidarity Movement, who were fighting against the provincial Social Credit Government headed by Premier Bill Bennett. Usi

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Kuligowski, Waldemar. "From ‘commercial sell out’ to community-based event: The paradoxes of Polish punk rock music festivals." Punk & Post Punk, 2021. http://dx.doi.org/10.1386/punk_00102_1.

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This article is based on both ethnographic field research and the author’s many years of experience as a punk fan. The researcher-participant analyses the 40-year history of two Polish music festivals in order to trace the complex trajectory and changing meaning of the punk subculture in Poland. The analysis is centred on two significant events: the Jarocin Rock Festival and the Rock on the Swamp Festival. The author suggests that the countercultural past of punk, rooted in the 1980s, is now being sentimentalized and commercialized. It is treated by conservative local authorities as an insigni

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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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Haenfler, Ross. "Punk Rock Preachers, Straight Edge, and the Prophetic Imagination." Journal of Religion and Popular Culture, 2025, 1–19. https://doi.org/10.1525/jrpc.2025.aa109.

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This article considers straight edge bands as having a “prophetic voice” in a seemingly “secular” subculture, simultaneously critiquing the present and envisioning an alternative future in the tradition of punk and many other forms of music. Straight edge is a global clean-living subculture with roots in the hardcore music scene. The author shows that collectively, straight edge “preachers” inspire many participants to action, to make changes in their lifestyles and engage in contentious politics. The scene and identity become reference points as participants expose and critique social inequal

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Valone, David A. "Transgressive women in punk: Politics, sexuality, and creative aggression in the 1970s." Journal of Popular Culture, November 7, 2023. http://dx.doi.org/10.1111/jpcu.13286.

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AbstractPrior analyses have examined various elements of punk rock as an aggressive anti‐establishment cultural and social movement that arose in post‐WWII America and flourished in the 1970s. The unique gender dynamic of punk, however, has been less of a focus of historical investigation. This essay examines the lives and music of three women involved in the early years of the emergence of punk, an era overwhelmingly dominated by men. By focusing on the creative expression and Penelope Houston of Avengers, Debbie Harry of Blondie, and Wendy O. Williams of Plasmatics, this paper seeks to analy

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Levy, Claire. "Sounds of pleasure and challenge behind the Iron Curtain: on the rise of Bulgarian rock music." Popular Music, February 17, 2025, 1–11. https://doi.org/10.1017/s0261143024000424.

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Abstract This article focuses on the innovative developments of some emblematic rock bands in Bulgaria, observed during the late 1970s and 1980s in terms of their social, ideological and artistic maturity, as well as of their significant impact on local youth life-styles through the liberating experience of specific musical styles ranging from classic rock (Shturtsite) and progressive rock (FSB) to, say, new wave (Tangra) or punk (Rock Trio Milena). Why the 1980s? What were the dominant verbal and musical messages at that time? Did they stimulate and accommodate the democratic political change

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Kusterle, Jernej. "Street Poetry in Interaction with (Living) Language." Jezikoslovni zapiski 20, no. 1 (2015). http://dx.doi.org/10.3986/jz.v20i1.2276.

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In the 1970s a new musical genre called rap appeared in the United States, continuing the tradition of rock and punk music. In about twenty years, this new form of protest poetry created global sociolinguistic changes because its presence helped shape a special social group with a special lexicon and grammar. Rap uses both standard and colloquial vocabulary and syntax. Its traditional origin in poor black urban neighborhoods justifies the use of the term street poetry.

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