Details
Musical Scenes and Social Class
Debating Punk and MetalPop Music, Culture and Identity
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CHF 153.50 |
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| Verlag: | Palgrave Macmillan |
| Format: | |
| Veröffentl.: | 15.07.2024 |
| ISBN/EAN: | 9783031565069 |
| Sprache: | englisch |
| Anzahl Seiten: | 240 |
Dieses eBook enthält ein Wasserzeichen.
Beschreibungen
<p>Early analysts of both punk and metal have shown their continuing popularity for segments of the public who were often considered in the 1970s and 1980s as “losers of globalization” despite the level of fragmentation of these scenes, the diversity of their audiences’ backgrounds, and their constant evolution and re-invention. This volume aims to stimulate and contribute to debates on social class and economic and cultural change, on one side, and punk and metal, on the other, through international, contemporary and historical approaches, mainly focused on Britain and France.</p>
<p>1.Romain Garbaye and Gérôme Guibert, Université Sorbonne Nouvelle.- <i>Introduction : social class, punk and metal</i>Class domination and class agency.- 2.Andy Brown, independent researcher<b> :</b> <i>Resistance Through Music.- </i>Exploring the role of class fraction appropriations and alliances in the subcultural<i> formation of heavy metal, classic, post and present.- _3</i> .Deirdre Gilfedder, Université Paris-Dauphine : <i>The early punk scene in Brisbane, Australia as site of social and postcolonial.- 4. Jeremy</i> Tranmer, Université de Lorraine<b>: “</b><i>Victory to the Miners!” Punk and the Miners’ Strike of 1984/85.- </i>Subcultures, sub-genres and social class.- 5.Timothy Heron, Université de Strasbourg<b> : </b><i>‘“Rotting in the suburbs” ? Voicing Working-Class Deprivation in 1970s Northern Ireland Punk Songs.- 6.</i>Guillaume Clément, Université de Rennes : Working-class and middle-class in the age of Brexit: social commentary by contemporary post-punk bands.- 7<b>. </b>Eric Smialek<b>, </b>Huddersfield University<b> : </b><i>Mapping Social-Class Divisions within Metal: Global Material Conditions, Disciplinary Priorities, Subgeneric Trends, and Stylistic Analyses.- </i>Evolving audiences : ageing, gentrification, feminization?.- 8<b>. </b>Pierig Humeau, Université de Limoges : « <i>We're dominated, So What" ? We Don't Give a F**k : Punk Stylistic Spaces, Social Classes and Political-artistic Ageing" inFrance.- 9.</i>Rosemary<b> </b>Lucy Hill, Huddersfield University, Molly Megson, University of Hull, and David Hesmondhalgh, University of Leeds <b>: </b><i>Sexual Violence in the Pit.- </i>10. Corentin Charbonnier, Université de Tours<b> :</b> <i>Gentrifying metal ? </i>The Evolving Gender and Social Class characteristics of Metal Festival Audiences : A Statistical Study of the HellfestFestival (France).- 11.Charlène Bénard, Université Sorbonne Nouvelle: Who listens to « metal for girls » ? Metal, orchestra and female voices: measuring the reception of symphonic metal.</p><p></p>
<p>Romain Garbaye is Professor of British Studies at the Université Sorbonne Nouvelle. His research focuses on the history of immigration and citizenship in the United Kingdom, as well as on the history of British rock music.</p>
<p>Gérôme Guibert is Professor of Sociology at the Université Sorbonne Nouvelle. He is a popular music studies scholar and an ISMMS (International Society for Metal Music Studies) board Member.</p>
<p>Gérôme Guibert is Professor of Sociology at the Université Sorbonne Nouvelle. He is a popular music studies scholar and an ISMMS (International Society for Metal Music Studies) board Member.</p>
<p>“This book seeks to rethink much of the mythology that has grown around the two genres regarding their status as ‘working-class’ styles. International in scope, interdisciplinary in method, Musical Scenes and Social Class is essential reading for anyone seeking to better understand the social character of popular music genres.”</p>
<p>— Steve Waksman, author of This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk, USA</p>
<p>“This is an essential collection of essays, unpicking and critiquing the cultural,</p>
<p>sonic, political and aesthetic dimensions of punk and metal. Through comparative</p>
<p>analysis, new insights are made.”</p>
<p>—Matthew Worley, author of No Future: Punk, Politics and British Youth Culture, 1976–1984 University of Reading, UK</p>
<p>“In a fragmentation and large-scale social crisis context, this volume takes up the debate between punk and metal and class belonging, showing us the interrelations between practices and their determination by social belongings. A vital feature of the book is the demonstration of the self-renewal of punk and metal. The irreverence, resistance, and personification of subaltern and paradoxical identities portrayed here represent a step forward “ —Paula Guerra, KISMIF Co-Convenor, University of Porto, Portugal</p>
<p>Early analysts of both punk and metal have shown their continuing popularity for segments of the public who were often considered in the 1970s and 1980s as “losers of globalization” despite the level of fragmentation of these scenes, the diversity of their audiences’ backgrounds, and their constant evolution and re-invention. This volume aims to stimulate and contribute to debates on social class and economic and cultural change, on one side, and punk and metal, on the other, through international, contemporary and historical approaches, mainly focused on Britain and France.</p>
<p>Romain Garbaye is Professor of British Studies at the Université Sorbonne Nouvelle. His research focuses on the history of immigration and citizenship in the United Kingdom, as well as on the history of British rock music.</p>
<p>Gérôme Guibert is Professor of Sociology at the Université Sorbonne Nouvelle. He is a popular music studies scholar and an ISMMS (International Society for Metal Music Studies) board Member.</p>
<p> </p>
<p>— Steve Waksman, author of This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk, USA</p>
<p>“This is an essential collection of essays, unpicking and critiquing the cultural,</p>
<p>sonic, political and aesthetic dimensions of punk and metal. Through comparative</p>
<p>analysis, new insights are made.”</p>
<p>—Matthew Worley, author of No Future: Punk, Politics and British Youth Culture, 1976–1984 University of Reading, UK</p>
<p>“In a fragmentation and large-scale social crisis context, this volume takes up the debate between punk and metal and class belonging, showing us the interrelations between practices and their determination by social belongings. A vital feature of the book is the demonstration of the self-renewal of punk and metal. The irreverence, resistance, and personification of subaltern and paradoxical identities portrayed here represent a step forward “ —Paula Guerra, KISMIF Co-Convenor, University of Porto, Portugal</p>
<p>Early analysts of both punk and metal have shown their continuing popularity for segments of the public who were often considered in the 1970s and 1980s as “losers of globalization” despite the level of fragmentation of these scenes, the diversity of their audiences’ backgrounds, and their constant evolution and re-invention. This volume aims to stimulate and contribute to debates on social class and economic and cultural change, on one side, and punk and metal, on the other, through international, contemporary and historical approaches, mainly focused on Britain and France.</p>
<p>Romain Garbaye is Professor of British Studies at the Université Sorbonne Nouvelle. His research focuses on the history of immigration and citizenship in the United Kingdom, as well as on the history of British rock music.</p>
<p>Gérôme Guibert is Professor of Sociology at the Université Sorbonne Nouvelle. He is a popular music studies scholar and an ISMMS (International Society for Metal Music Studies) board Member.</p>
<p> </p>
Considers social class from an intersectional perspective Covers multiple subgenres & eras from the 1970s through the 2020s Studies the relationship among punk, metal, and social class in the UK, France, Canada, & Australia
<p>“This important collection advances the scholarly conversation on punk and metal several steps forward. It is one of the few books that takes the significant parallels between punk and metal histories seriously, their convergences and their specificities. More than that, it seeks to rethink much of the mythology that has grown around the two genres regarding their status as ‘working-class’ styles. International in scope, interdisciplinary in method, Musical Scenes and Social Class is essential reading for anyone seeking to better understand the social character of popular music genres.” (Steve Waksman, author of “This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk”)<br>
<br>
“This is an essential collection of essays, unpicking and critiquing the cultural, sonic, political and aesthetic dimensions of punk and metal. Through comparative analysis, new insights are made.” (Matthew Worley, University of Reading, author of “No Future: Punk, Politics and British Youth Culture, 1976–1984” and “Class Against Class: The Communist Party in Britain Between the Wars”)<br>
<br>
“In a fragmentation and large-scale social crisis context, this Volume takes up the seminal debate between negativity and aggressivity in rock music (punk and metal) and class belonging in Britain and France. This fact is remarkable from the point of view of sociology and contemporary history, showing us – without mythologization – the various interrelations between cultural-artistic-musical practices and their still – and increasingly intense – determination by social belongings. It is not a question of going back but of reinterpreting the growing contemporary social polarization by and with these sounds. A vital feature of this Volume is also the demonstration of the self-renewal of punk and metal, from a spatial, social, cultural, and artistic point of view. The irreverence, resistance, and personification of subaltern and paradoxical identities, portrayed in this book, represent a step forward in the renewal of the approach to popular music because it has an intersectional approach here.” (Paula Guerra, University of Porto and Co-Convenor, KISMIF Conference)</p>
<br>
“This is an essential collection of essays, unpicking and critiquing the cultural, sonic, political and aesthetic dimensions of punk and metal. Through comparative analysis, new insights are made.” (Matthew Worley, University of Reading, author of “No Future: Punk, Politics and British Youth Culture, 1976–1984” and “Class Against Class: The Communist Party in Britain Between the Wars”)<br>
<br>
“In a fragmentation and large-scale social crisis context, this Volume takes up the seminal debate between negativity and aggressivity in rock music (punk and metal) and class belonging in Britain and France. This fact is remarkable from the point of view of sociology and contemporary history, showing us – without mythologization – the various interrelations between cultural-artistic-musical practices and their still – and increasingly intense – determination by social belongings. It is not a question of going back but of reinterpreting the growing contemporary social polarization by and with these sounds. A vital feature of this Volume is also the demonstration of the self-renewal of punk and metal, from a spatial, social, cultural, and artistic point of view. The irreverence, resistance, and personification of subaltern and paradoxical identities, portrayed in this book, represent a step forward in the renewal of the approach to popular music because it has an intersectional approach here.” (Paula Guerra, University of Porto and Co-Convenor, KISMIF Conference)</p>
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